Nick_Milligan
abr 2000 se unió
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Calificaciones3.7 k
Clasificación de Nick_Milligan
Reseñas20
Clasificación de Nick_Milligan
Sydney Film Festival 2023
An often moving and profound documentary about Australia's ancient and under-acknowledged history.
The film covers a lot of ground - there's many aspects to the Dark Emu story. So much so, that the project would have benefited from being a multi-episode series. The post screening talk revealed that this was considered during the project's genesis. But, the counter argument is that a tight 90-minute runtime might make the film more accessible and digestible.
What Uncle Bruce Pascoe's book and, now, this aesthetically beautiful doco has drawn our attention to, is the nuances and complexities of First Nations peoples, structures economical, agricultural and spiritual, were crushed by colonisers.
Clarke respectfully gives airtime to the counter arguments to Pascoe's controversial research which, from what the doco presents, largely boil down to semantics and straw man arguments.
This doco is hopefully a conversation starter. It will hopefully receive distribution that allows many Australians and overseas audiences to see it, as the screening was very much "preaching to the converted".
It seems tragic that we have so many ancient and constructed landmarks - that out-date that of Stone Henge, the Aztecs etcetera - that are not celebrated by us as a nation. You'd think this would appeal to our parochialism, but instead we ignore their age and significance in the name of politics, historical denial and colonial public relations.
Well done to everyone that worked on this project.
An often moving and profound documentary about Australia's ancient and under-acknowledged history.
The film covers a lot of ground - there's many aspects to the Dark Emu story. So much so, that the project would have benefited from being a multi-episode series. The post screening talk revealed that this was considered during the project's genesis. But, the counter argument is that a tight 90-minute runtime might make the film more accessible and digestible.
What Uncle Bruce Pascoe's book and, now, this aesthetically beautiful doco has drawn our attention to, is the nuances and complexities of First Nations peoples, structures economical, agricultural and spiritual, were crushed by colonisers.
Clarke respectfully gives airtime to the counter arguments to Pascoe's controversial research which, from what the doco presents, largely boil down to semantics and straw man arguments.
This doco is hopefully a conversation starter. It will hopefully receive distribution that allows many Australians and overseas audiences to see it, as the screening was very much "preaching to the converted".
It seems tragic that we have so many ancient and constructed landmarks - that out-date that of Stone Henge, the Aztecs etcetera - that are not celebrated by us as a nation. You'd think this would appeal to our parochialism, but instead we ignore their age and significance in the name of politics, historical denial and colonial public relations.
Well done to everyone that worked on this project.
There's a lot to unpack in this sashimi western. Sion Sono's feverish, live-action anime is loaded with symbolism and iconography, a wonderfully strange and humorous lament on Japanese culture. As it was explored in Philip K. Dick's The Man in the High Castle, the Japanese obsession with American culture runs deep, and Sono fuses the two sensibilities here - a frontier western mashed with a feudal samurai drama.
On another level, Prisoners of the Ghostland is exploring the nuclear and cultural fallout of the atomic bombs that fell during World War II, as the movie searingly depicts in its final act. The ghosts of this movie are a slaves to that act, as they are slaves to time as commanded by Bill Moseley's deified Governor.
Then there are the visual motifs and homages. It's no coincidence Nic Cage's Hero is dressed much like Max Rockatansky, and Mad Max II is clearly a reference point, another film haunted by the remnants of society in a dystopian wasteland. There's even echoes of The Wizard of Oz.
Prisoners of the Ghostland will puzzle many and delight some, but ultimately it's a far more layered and intelligent piece of filmmaking than most will give it credit for. It's cinema as art, impressionistic, multi-faceted and worthy of dissection.
I had a ball.
On another level, Prisoners of the Ghostland is exploring the nuclear and cultural fallout of the atomic bombs that fell during World War II, as the movie searingly depicts in its final act. The ghosts of this movie are a slaves to that act, as they are slaves to time as commanded by Bill Moseley's deified Governor.
Then there are the visual motifs and homages. It's no coincidence Nic Cage's Hero is dressed much like Max Rockatansky, and Mad Max II is clearly a reference point, another film haunted by the remnants of society in a dystopian wasteland. There's even echoes of The Wizard of Oz.
Prisoners of the Ghostland will puzzle many and delight some, but ultimately it's a far more layered and intelligent piece of filmmaking than most will give it credit for. It's cinema as art, impressionistic, multi-faceted and worthy of dissection.
I had a ball.
This new iteration of The Witches is an incredibly expensive exercise when you consider that its only reason for existence is to serve as a reminder to watch Nicolas Roeg's masterpiece original. There is not one aspect of this movie that improves on his movie.
Take note: by all accounts this new version is also scaring the kids. So be careful with your own.
Take note: by all accounts this new version is also scaring the kids. So be careful with your own.
Encuestas realizadas recientemente
20 en total de las encuestas realizadas
