d-ramseeey

Sons of Summer is a poignant and evocative Australian film that delves deep into the themes of youth, camaraderie, and the bittersweet passage of time. Set against the backdrop of Australia's sun-drenched beaches, the film expertly captures the essence of Australian summer - a time of freedom, adventure, and the intense bonds of friendship.

The cinematography is a standout, beautifully capturing the rugged Australian coastline and the vibrant energy of youth. It complements the storytelling, adding an almost tactile sense of heat and the carefree days of summer.

Performances by the young cast are remarkable, bringing authenticity and depth to their roles. The chemistry among the actors is palpable, adding to the film's charm and believability. The script balances humor with moments of introspection, allowing each character to have their moment in the sun, quite literally.

Early on in this film, lead character, Kristina (the wonderful Lindsay Anne Williams) muses about what it means to be normal. It's a question that the film forces audiences to wrestle with throughout as director Doleac and his team fully embrace the weird, bold, outside-the-box, at times, positively wild, both from a story and style perspective. And it totally works because everyone is committed to it fully, especially the game cast, all of whom deliver top-tier performances, with Williams and Jeremy London, as ex-TV icon Erik, whose "star has dimmed" considerably, delivering particularly compelling work. But Doleac as husband, Robert and Elena Sanchez, Emma have great scenes together and excellent chemistry and Yohance Myles shows up late as Erik's agent and nearly steals the show.

Doleac's casting game is strong here, even William Forsythe, as a crusty, wise-cracking police captain (and Emma's dad) is in on the fun. And, yes, it's a musical! But not that kinda musical. The MTV-style music videos that populate the narrative represent Kristina's inner monologue as she struggles to navigate a personal tragedy, unfulfilled childhood dreams, a struggling marriage, a decision to "open" said marriage in hopes of saving it, and her new relationship with Erik, which turns out to complicated. The songs are tongue-in-cheek (but thoroughly catchy, enjoyable, and, on occasion, riotously funny) and the videos embrace that trend of the 80's where every video seems to have been shot in a nebulous void space with lots of fog, the occasional actor in an animal costume and cheesy effects.

The fictional band is made up of the people in Kristina's real life, including Erik, Robert, Emma and more ... now clad in copious make-up, wigs, and lots of 80's-inspired vinyl, leather and such. Yes, OPEN is anything but "normal" in cinematic terms and that's what makes it absolutely worth a watch.

This documentary bonus is a rich and fascinating exploration of the legacy of The Red Shoes, a significant work in both theatre and cinema. The setting at The Royal Opera House adds a layer of authenticity and depth, considering its connection to the film and its status as the home of the Royal Ballet Company.

Shannon Davidson and Ashley Shaw's participation brings a unique perspective to the discussion. Davidson, portraying Moira Shearer, and Shaw, who danced in the ballet version of The Red Shoes, offer firsthand insights into the roles and the challenges they faced. Their conversation seems to go beyond mere celebration, linking different eras and interpretations of the story while also shedding light on the complexities and pressures faced by women in the performing arts.

By marking the 75th anniversary of "The Red Shoes," this interview not only pays tribute to a classic but also serves as a meaningful platform to discuss contemporary issues in the industry. The dialogue between Davidson and Shaw, enriched by their experiences and perspectives, offers an introspective look into the world of performing arts, highlighting both historical and current challenges and achievements.