Recensioni degli utenti

Innuendo is a low/zero budget independent film that can keep you entertained throughout the whole film if you are ok with films with low production value. This is thanks to its well written story which is its strength. But then it is let down by the moments that really show the lack of budget, and these moments are enough to take you out of the film.

The film is cast of some practicing actors and some amateurs, and while this can work well on some films, in this case the good performances of the leading cast are overshadowed by the lacklustre performances of the supporting cast and the extras.

All low budgets independent films are a mammoth task to complete, so what this film has achieved with the low budgets is commendable. I'm surely if the key creatives had more time and budgets they could've done much better. And I look forward to their next project.

The film's production notes rather comically dare to compare this amateurish Indi piece to the work of David Lynch and Roman Polanski among others. These pretensions to greatness are sadly misplaced in this budget-priced flick which admittedly does contain a heady mixture of twins, chainsaws, nude modelling, murder and the most garish collection of wigs you are guaranteed to have ever seen continually paraded on screen. Does seem like a project with which Lynch might want to involve himself, but sadly folks, he's not there.

Writer/Producer/Director/Lead Actor Saara Lamberg clearly has ambitions to create an intriguing web of mystery for the audience with this tale of a Finnish twin leaving her supposedly dysfunctional family and travelling to Australia to start her life anew. A rather large hurdle she has to overcome however, is that she can't act to save herself and she's onscreen for much of the movie's running time. Go figure. Brendon Bacon, as the nominal male lead is a little more convincing as Ben, her chainsaw-sculpting companion in the second half of the film.

Special mention needs to be made of the soundtrack music by someone by the name of Charly Harrison. Suffice to say, it's nails dragged across a blackboard aurally excruciating. Its repetitive drone is dished up right throughout the film , challenging us to decipher the dialogue being spoken by a cast perhaps best described as enthusiastic, rather than professional.

One certainly has to admire Director Lamberg for obviously being prepared to devote so much of herself in getting this project to the screen, but I for one hope that any future works, see her anchored firmly behind, rather than in front of the camera.

The set up of Innuendo is that the heroine has left her religiously and sexually oppressive parents in her home in Finland, along with her favoured twin sister, for a life in Australia. Her past has rendered her a completely insular character, almost monosyballic, who repels or attacks almost all form of interaction.

Watching a character give nothing to anyone makes the film hard to stick with for a long time. I felt like I was getting nowhere, and not wondering 'Where is this going?' but 'Will this go anywhere?' Knowing so little of the backstory at this point, I didn't think Saara Lamberg's performance was giving me enough hint of what was hidden to hold my interest

Slowly, violence and weird fantasies start to creep in, and the film gathers more of a hold as it continues. Seeing more of the heroine on her own in more extreme situations, not just fobbing off all the other characters, also starts to suggest more her inner turmoil, which is the point of interest needed to focus everything.

There are some audacious scenes, painful and ominous and true scenes, and some strong performances. I think Lamberg is really good in multiple roles, it's just that for too long in the film, the screenplay (her own) keeps the character too barricaded. Ultimately Innuendo ends much stronger than it began, which is way better than the opposite, and has resonance. But much of it is a slog on the way to building to that point. Flawed but with value.

Imagine a 90s sex murder thriller with Matt Dillon if Matt Dillon never got near the thing and the manic-pixie-nightmare leading lady was treated with a psychological insight and a twisted sympathy that creeps into you and stays to unsettle you for a week. It's hilarious, and shocking. It's set in sharehouses you're sure you've been to a party at, that life drawing class you took in 2015, and features that play your housemate's girlfriend was in that you couldn't escape, and then never wanted to end. The settings are idiosyncratic, familiar, yet you have not seen anything this original in a long time.

An amazing talent which had me constantly thinking! Looking forward to her future work. The entire cast was excellent and the story line was so engaging. Just when you think you are on track with the story a new twist emerges! Saara is a fantastic talent and I wish her the best of luck!

Director Saara Lamberg has created a film that resists easy categorization, so I'll go with psycho-sexual drama.

Tulli and Suvi (both played by the deliciously off-kilter Lamberg) grew up in Finland, and were subjected to contrary parenting whose legacy is now being visited on Tulli, who has relocated to Australia (as Lamberg herself did).

Like its uncertain genre, it's also uncertain here what is autobiographical and what is fiction –– ultimately, it matters not, but the drama possesses a strong scent of earthy authenticity. What the audience gets is a whirlwind odyssey to Toxic-Town as Tulli emotionally and physically rampages through the lives of everybody she meets and annihilates.

As it skilfully sets up its premise, it skilfully fulfills its promise also with a conclusion that intelligently wraps up its many open sores.

With its stark and perverse humour, tangy eroticism, and detours into surrealism blended with kitchen sink drama, INNUENDO is the orgasm Aussie cinema has been begging for.

This is my first review of a film, so bear with me. I had the pleasure of viewing an Australian production by Finnish-Australian producer/director/screenwriter/actress Saara Lamberg. Lamberg's feature debut is a Scandi-style art-house thriller that is rarely, if ever made in Australia. This was an ambitious project made in Finland and Australia on a tight budget; I have been told. It follows the story of twins Tulli and Suvi (both played by Lamberg herself) raised in a religious and oppressive Finnish family. Tulli was the more neglected and abused of the two, while Suvi was the parent's "Angel", as Tulli would refer to her sister. Most of the story takes place on Tulli's trip in Australia, interwoven with flashbacks of the twin's childhood in Finland. Tulli is hell-bent on wreaking havoc on anyone who comes in contact with her, especially the people she befriends. She explains to us her motivations for all her atrocities by the end of the film, but I will not reveal those, as it will spoil it for the viewer. The film provides us with numerous memorable scenes, a lot of them shocking and some unexpectedly humorous. The latter are interspersed randomly but perfectly throughout this gloomy film. The ambiguous ending leaves the audience pondering; what happened? I would recommend this film to anyone who is interested in art-house cinema. It is not a popcorn movie but a thought-provoking film beautifully written, directed, produced and most importantly starring the extraordinarily talented and hardworking Saara Lamberg.

• Dusan Dobrilovic

A great psychosexual thriller in the vein of Body Heat, 9 1/2 Weeks and David Lynch. Even more impressive that one person wrote, produced, directed and starred in this gem! Congratulations Saara - a fantastic achievement.

Saara Lamberg brings to life the quirky, unhinged and deliciously despicable character Tuuli who travels to Australia to start a new life after leaving her homeland in Finland. Tuuli uses her sexual power to get what she wants from men, and leaves behind a trail of destruction and devastation. We discover early on that Tuuli has a twin Suvi, and the film jumps back and forth from the past in Finland to the present day. Ms. Lamberg plays both roles with pathos, also the subtle nuances required to convey each character is ever so present which is a testament to Saara's skill as an actor. Innuendo features many local actors from Melbourne, notably Andy Hazel who plays the timid and dejected Thomas and Brendan Bacon delivers an engaging, heartfelt and cheeky performance as the love interest Ben.

Shot in Melbourne, Australia and in Finland on a micro budget, the debut feature also written and directed by Saara Lamberg leaves the viewer absolutely mesmerized by chainsaw sculpting, nude modelling, very very fringe and experimental theatre and the utterly reprehensible actions of the protagonist.

A truly ambitious independent feature that delves into the psyche. The talented Saara Lamberg is definitely one to watch in the future.

I loved it . Quirky , original , well written and acted and shot as Indie flicks are in a style that doesn't pretend to be anything else . Loved the vividness and lighting in the pier scene, perfect direction and time of day . Congratulations to all . Look forward to the next one , 2 years is too long

I had no idea what to expect, but was completely engaged with Innuendo - The Bad Twin from start to finish! Amazing acting, particularly from the leads Saara Lamberg & Brendan Bacon. A thought-provoking and suspenseful story, with a wicked sense of humour shining through. Amazing work, so impressed.

Saara Lamberg's debut feature has won awards and critical praise, but still seems overlooked. It's a haunting, one-of-a-kind experience that deserves more attention. Lamberg plays twins Tulli and Suvi Blomberg, who are raised in an oppressive religious household in Finland. Tulli moves as an adult to Australia, and we follow her misadventures with one colourful character after another. Tulli navigates precarious experiences though the bohemian fringes of suburban Melbourne, and the film develops an unsettling tone as the story marches towards a tragically moving and beautifully surreal conclusion.

INNUENDO was shot in Finland and Australia, and tells a story that can only be fully assembled once the final pieces are revealed, and perhaps only really appreciated on a second viewing. Incidental moments - an incoming plane flying over a winged statue, a family member entering a room, a sketch in a gallery of a young woman - resonate more deeply after you've followed the story to its conclusion,. INNUENDO wields its secrets like a poker player, keeping a surprise or two close to its vest before revealing its cards at the very end.

Lamberg gives a funny, fetching and brave performance as one twin, and a moving, layered and noticeably different performance as the other. (Scenes where the sisters converse with each other in adulthood are cleverly achieved without any fuss). A supporting cast full of unfamiliar faces provide moments of pathos and humour. One actress in particular, Karina Sorelli - who I wish was in the movie more than she is - is heartbreakingly real as the kind and likeable Linda. Sorelli seems to have wandered in from a documentary where hidden cameras have been arranged to give the audience the privilege of watching a young woman's most private and emotionally vulnerable moments. She's stunning.

Filmed on a low budget, Saara Lamberg's film stretches its resources further than you might anticipate. There are multiple locations, crowd scenes, and a countryside gathering filmed at magic hour. Nude modelling and chainsaw sculptures are repeated motifs, given extended screen time, and there's a riotously funny theatre performance filmed at Melbourne's La Mama theatre, in a sequence of pure comedy. For me, a first viewing led to a second, and the rewards and discoveries from that have me keenly anticipating a third. At some points, you can imagine the filmmakers would have liked to have had a bigger budget than they did, but none of that matters really matters when watching it. This movie displays a sense of fearlessness and creativity that is often startling. INNUENDO is a haunting, beguiling and thought-provoking experience that lingers in the mind, and is funny, sexy, spooky and heartbreaking, all at once. It's a dense, multi-faceted and utterly brilliant gem that hypnotises and beguiles the more you gaze into it.

"Innuendo" is a captivating movie about childhood experiences of two twin sisters and how these experiences shaped their lives. It is a movie about child abuse, sibling rivalry, complicated parent-child relations, religious indoctrination, love, jealousy and murder.

Saara Lamberg wrote, directed and produced "Innuendo". She also plays the protagonist and gives a brilliant performance, as do her co-stars -Brendan Bacon and Andy Hazel.

An enigmatic woman, Tuuli, arrives in Australia in search of her identity, after escaping her childhood trauma and rejecting her parents and their values. She leaves behind her native Finland and her twin sister, who is her alter ego. Tuuli is a quintessential duplicitous femme fatale, who becomes entangled in love, jealousy and murder.

The movie is an exploration of the duality of good and evil. It shows the ambiguity of good and evil, when, what is considered good becomes evil, and what is considered evil becomes good. It is a psychological masterpiece.

"Innuendo" has been created in the tradition of Scandinavian cinema, with apparent strong influences of its greatest master, Ingmar Bergman, especially his movie "Persona". Like Bergman's movies, Lamberg's "Innuendo" is difficult to understand intellectually. Rather it is a sensuous experience.

Another visible influence of Scandinavian cinema on "Innuendo" is that of Lamberg's compatriot, Petri Kotwica and his acclaimed movie "Black Ice". Similarities in terms of double identity, love, jealousy, and the names of two heroines, Tuuli and Saara, are curious.

Tuuli is a fitting name for the heroine of "Innuendo". It means 'wind' and, according to Finnish mythology, is the name of the goddess of animals, daughter of the god of the forest. Ben, Tuuli's Australian boyfriend, compares her to an eagle, which signifies liberation from bondage, freedom and majestic power. "Innuendo"'s symbolism is fascinating.

It is an intriguing movie that may be interpreted in a variety of ways and therefore keeps you thinking about it for days. It makes you reminisce about your own childhood. It epitomises the fact that we are all victims of our upbringing, indoctrination and real or symbolic violence that we experience in childhood. Most of us rebel against these childhood experiences as we embark on a search for our own identity to find out who we really are, just as Tuuli did.

"Innuendo" is a must-see movie.

Innuendo is well crafted and delightfully alive. It is a beautiful return to Cinema as it is meant to be. The cast is delightful. The shots are beautiful. The story keeps you wrapped up. To the cast and crew bravo!

I'd personally never seen anything like this film before, the way the story was being told, it was certainly something that kept me wanting to know more!

Honestly I thought it was quite a charming film, funny at some points, extremely tense at others, and is absolutely packed with ideas that will leave you thinking and contemplating your own life.

Innuendo was Saara's first feature film. The quality is outstanding. Saara has created something truly remarkable in modern cinema. It's an unflinching, genre-defying, fiercely personal film that sticks with you, long after you've watched it.

The film showcases just how much can be achieved with little to no budget. From the very first scene, the film establishes a unique tone and aesthetic, that's unmistakably Australian in its arthouse sensibility.

Innuendo tells the story of Tuuli, who flees a traumatising childhood in Finland marked by religious repression, emotional abuse, and the constant, suffocating presence of Tuuli's "good" twin sister. Desperate to escape this past and forge a new identity, Tuuli travels to Australia. A land that is both physically and culturally distant. A kind of emotional exile, where one can define one's self on one's own terms.

There, Tuuli begins a journey of self-discovery, connecting with people who know nothing of Tuuli's past or of Finland, the country Tuuli once called home. Tuuli's transformation isn't simple or linear. Along the way, Tuuli is immersed in a brand new world attempting to liberate one's self featuring, life modelling, theatre, even chainsaw sculpting along the way all of which add colour and complexity in Tuuli's attempt at reinvention.

The performances of the actors are startlingly raw and authentic, making Tuuli's outsider experience in Australia feel incredibly real.

Ultimately, Innuendo is about what it means to survive and reinvent yourself after trauma. It's about the freedom and chaos of starting over, and the eccentric, painful and human things that can occur.