Movies

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New Aussie film starring Nicolas Cage is an absolute blast

<div class="theconversation-article-body">Nicolas Cage has made a career from his highly entertaining scenery chewing. He follows a performance style he calls “<a href="https://filmschoolrejects.com/nouveau-shamanic-the-enigmatic-style-of-nicolas-cage/">Nouveau Shamanic</a>” – an exaggerated form of method acting where he acts according to the character’s impulses. This allows for the wild, unpredictable outbursts his characters are known for.</p> <p>Cage films are also usually about masculinity: its worst excesses, the parameters restricting it, and what ennobling versions of it might look like.</p> <p>The Surfer, a new Australian feature film from Irish director Lorcan Finnegan, leans right into masculinity as a theme.</p> <p>Our unnamed protagonist (Cage) is returning to his former Australian home from the United States. He is newly divorced, and trying to buy a beachside property to win back his family.</p> <p>He takes his teenage son (Finn Little) for a surf near the property, but they are run off by an unfriendly pack of locals.</p> <figure><iframe src="https://www.youtube.com/embed/Tb6iY_p1Qi0?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Returning alone to the beachside car park to make some calls, he is besieged there over the next several days by the same gang. They are led by a terrifying middle-aged Andrew Tate-esque influencer, Scally (Julian McMahon), who runs the beach like a combination of a frat bro party and wellness retreat.</p> <p>The protagonist’s fast descent into dishevelled, dehydrated delirium as the group’s hazing escalates, fuels much of the first two acts.</p> <h2>Fish out of water</h2> <p>It is impossible to think of an actor other than Cage who could make a character like this so enjoyable to watch.</p> <p>From the first moments, he seems pathetic: giving his uninterested teenage son metaphorical speeches about surfing, losing arguments on the phone with his broker and real estate agent, reeking of pomposity and desperation.</p> <p>The sense of a man out of his depth is compounded by his Americanness contrasting with the particular brand of Australian masculinity the locals display. Both types are brash and entitled, but with entirely different ways of expressing it.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=400&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=400&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=400&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=503&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=503&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=503&amp;fit=crop&amp;dpr=3 2262w" alt="Cage is in the face of another surfer, wearing a Santa hat." /></a><figcaption><span class="caption">This is a man out of his depth.</span> <span class="attribution"><span class="source">Madman Entertainment</span></span></figcaption></figure> <p>Cage’s distinctively American confidence has no resistance to the terrifying switches of Australian masculinity from friendly to teasing to violent.</p> <p>“Don’t live here, don’t surf here,” they hiss at him on first meeting, forcing him to retreat, cowed, to the car park, where he remains for most of the rest of the film.</p> <h2>The wide-open and the claustrophobic</h2> <p>What a stroke of genius it is to use this single location.</p> <p>Filmed in Yallingup, Western Australia, The Surfer beautifully captures the natural surroundings, stunning views and shimmering heat of Australian coastal summer.</p> <p>At the same time, a confined, interstitial semi-urban feature like a beachside car park feels so bleak and uninviting. The only amenities are an overpriced coffee cart, ancient payphone and a dingy toilet block.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=338&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=338&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=338&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=424&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=424&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=424&amp;fit=crop&amp;dpr=3 2262w" alt="Cage stands next to a phone booth." /></a><figcaption><span class="caption">The beachside car park feels so bleak and uninviting.</span> <span class="attribution"><span class="source">Madman Entertainment</span></span></figcaption></figure> <p>As a film setting, it is both a spectacular wide-open vista and stiflingly claustrophobic – a perfect mechanism for The Surfer’s psychological horror.</p> <p>It must have been attractive in getting the script funded as well. With such an affordable location, more of the budget would have been freed up for a big name like Cage.</p> <h2>A modern Wake in Fright</h2> <p>With its oppressive setting, overexposed orange and yellow light and grade, and a sweaty spiral into madness, The Surfer invites comparisons to <a href="https://theconversation.com/thats-not-us-wake-in-fright-at-50-a-portrait-of-an-ugly-australia-that-became-a-cinema-classic-159221">Wake in Fright</a>, Ted Kotcheff’s 1971 brutal depiction of Australian men and their drinking culture.</p> <p>Both take place at Christmas and feature an antagonist who enjoys confidently explaining their dubious moral worldview to everyone. However, Wake in Fright’s horror lingers because we know the culture remains even after the hero escapes it. The Surfer struggles a little more in landing the ending.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=338&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=338&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=338&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=424&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=424&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=424&amp;fit=crop&amp;dpr=3 2262w" alt="Men in a sweaty hug: perhaps they are cheering, or maybe they are yelling." /></a><figcaption><span class="caption">The film’s depiction of masculinity echoes Wake In Fright.</span> <span class="attribution"><span class="source">Madman Entertainment</span></span></figcaption></figure> <p>For the mean, violent, misogynistic villains to be defeated, it would be unsatisfying for Cage to stoop to their level. This means – without spoiling too much – Cage remains an oddly passive character throughout the film, while others perform the avenging actions.</p> <p>The only way the protagonist’s masculinity can be resurrected as upright, ethical and empowering is for the character to literally turn his back on the vengeance we’ve been waiting for him to deliver.</p> <p>It’s not that the film has an inarticulate grasp of its own politics, but more that the otherwise terrific script by Thomas Martin feels written into a difficult corner.</p> <h2>A blast along the way</h2> <p>I don’t want to imply that this ending means The Surfer isn’t an absolute blast along the way. A lot of the fun is in anticipating each dreadful humiliation – and it somehow turning out worse than you could have expected.</p> <p>A spilled coffee leads to drinking recycled wastewater which leads to chewing on a dead rat, and we still haven’t reached the lowest rung on the ladder of indignities that Cage’s character suffers.</p> <p>In less skilled hands this could feel nasty or gross, but the hallucinatory quality of Finnegan’s direction makes it feel almost sublime. And Cage’s pleading, groaning, sobbing and gibbering feel believable and relatable.</p> <p>The pathos works – and it’s pretty funny too.</p> <p><em>The Surfer is in cinemas now and streaming on Stan from June 15.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/254580/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></em></p> <p><em><a href="https://theconversation.com/profiles/grace-russell-1459623">Grace Russell</a>, Lecturer, School of Media, Film and Journalism, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a></em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/dishevelled-dehydrated-delirium-new-aussie-film-the-surfer-starring-nicolas-cage-is-an-absolute-blast-254580">original article</a>.</em></p> <p><em>Main Image: Madman Entertainment</em></p> </div>

Movies

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7 films to watch this Mother’s Day

<div class="theconversation-article-body"> <p>With Mother’s Day almost upon us, you may be wondering what gift you’ll give mum – or any of the mums in your life. This year, why not skip the fancy dinner and offer one of the most precious gifts there is: quality time, in front of the TV.</p> <p>When I asked seven experts what movies they’d recommend for Mother’s Day, I wasn’t expecting I, Tonya or Alien: Romulus – but their responses have made me realise just how multifaceted the experience of motherhood is, and how weirdly and wonderfully it can be reflected onscreen.</p> <p>So here’s what to watch if you want to laugh, cry, or scream, in an ode to mothers everywhere.</p> <h2>I, Tonya (2017)</h2> <p>The first film from Margot Robbie’s production company LuckyChap Entertainment – which earned Robbie an Oscar nomination for best actress – is an ideal viewing choice for anyone wanting to support Aussie female talent.</p> <p>Former American figure skater Tonya Harding became a household name in 1994, after her then-husband Jeff Gillooly <a href="https://time.com/5027311/i-tonya-movie-true-story/">orchestrated an assault</a> on her primary rival, Nancy Kerrigan, in a bid to block Kerrigan from representing the United States at that year’s Winter Olympics.</p> <p>I, Tonya presents the event, and those of Harding’s career leading up to it, from a more sympathetic perspective than usual. Although it is careful to open with the caveat that the story is derived from “irony-free, wildly contradictory, totally true interviews with Tonya Harding and Jeff Gillooly”, the film presents Harding’s life as one of abuse and cruelty at every turn.</p> <figure><iframe src="https://www.youtube.com/embed/OXZQ5DfSAAc?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>The judges can’t stand her “unfeminine” power. Her husband only shows love through violence. And her heartless mother, LaVona (Alison Janney) is desperate to cash-in on the financial gains from her career success, while simultaneously resenting it.</p> <p>Janney’s performance as LaVona won her the Academy Award for best supporting actress, a title thoroughly deserved as an ice-cold LaVona chainsmokes through barbed criticisms and physical threats. While I, Tonya may not be the most obvious choice for a film to watch on Mother’s Day, it certainly will make you appreciate yours.</p> <p><em><strong>– Jessica Gildersleeve</strong></em></p> <h2>Stepmom (1998)</h2> <p>Stepmom, starring Julia Roberts and Susan Sarandon, is a family weepy for anyone who needs a cathartic cry. Directed by Chris Columbus, the comedy–drama follows the story of terminally ill woman Jackie Harrison (Sarandon) as she comes to grips with the fact her ex-husband’s new girlfriend Isabel (Roberts) will soon be her children’s stepmother.</p> <p>The film, like others under Columbus’ direction, is a critique of domestic dysfunction (think Home Alone, Mrs Doubtfire, or Nine Months), and an exploration of the lengths characters will go in order to restore the ruptured (nuclear) family, whether literally or symbolically.</p> <figure><iframe src="https://www.youtube.com/embed/QNUu1d7i26g?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Despite its melodramatic machinery and predictable ending, Stepmom offers a nuanced portrayal of the struggles of children during separation or divorce. We see 12-year-old Anna and her little brother, Ben, an aspiring magician, caught in an emotional tug-of-war between their loyalty to their dying mother and their natural affection for their new stepmum.</p> <p>In an honest moment, an anxious Ben asks his dad, “can you ever fall out of love with your kids?”</p> <p>“No, that’s impossible,” Dad responds.</p> <p>In an equally realistic thread, the sullen Anna begrudgingly turns to Isabel for advice on boys, clothes and makeup – their relationship soon resembling one of sisters rather than adversaries (controversially, Roberts’ character even takes it upon herself to explain the concept of “snowblowing” to the tween).</p> <p>In 1998, Stepmom was ahead of its time – not in its representation of motherhood, but in its acknowledgement the nuclear family was, even back then, a thing of the past.</p> <p><strong><em>– Kate Cantrell</em></strong></p> <h2>Double Jeopardy (1999)</h2> <p>Like most thrillers made in the 1990s, Double Jeopardy begins in the Pacific Northwest region of the United States: the epicentre for murder and mist.</p> <p>Libby Parsons (Ashley Judd) is living the idyllic waterfront life with her husband Nick (Bruce Greenwood) and son Matty. After being convinced by Nick to go yachting, Libby wakes up on the boat (during what could best be described as a mist storm) to discover Nick is missing, and there is an endless path of blood from her hands to the yacht’s edge.</p> <p>Libby is tried and convicted for Nick’s murder. While grieving her son in jail, she finds out her husband is actually alive and has framed her. Libby’s cellmate tells her about the “double jeopardy” rule: you can’t be tried for the same crime twice.</p> <p>The montage of Libby preparing for revenge in jail signals an uptick in campy action. Upon her release, we’re introduced to parole officer Travis (Tommy Lee Jones). A game of cat and mouse ensues that is equal parts thrilling and ridiculous.</p> <figure><iframe src="https://www.youtube.com/embed/u22fy9OTaxo?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Ultimately, Libby must choose between vengeance and getting her son back. Will she follow the rules and wait, or will she put her relentless jail workouts to good use? Double Jeopardy is profoundly stupid and fun, with all the unexpected charm of a midday movie that pulls you in, despite not making much sense.</p> <p>It’s just the kind of movie my mum and I have found ourselves glued to on a Saturday afternoon – cheerleaders for revenge.</p> <p><strong><em>– Kathleen Williams</em></strong></p> <h2>Monster-in-Law (2005)</h2> <p>What lengths would you go to protect your son from marrying someone unsuitable? One of the first references to the roles of the mother-in-law can be traced back to <a href="https://www.google.com.au/books/edition/Representations_of_the_Mother_in_Law_in/gdxfDwAAQBAJ?hl=en&amp;gbpv=1&amp;dq=mother+in+law+latin&amp;pg=PA73&amp;printsec=frontcover">Latin literature</a>, and the comedic play Hecyra, by Roman playwright Terence, which was first <a href="https://www.litencyc.com/php/sworks.php?rec=true&amp;UID=13480">successfully performed</a> in 160 BC. The play’s comedic twist is that the mother-in-law is accused of hating her son’s wife.</p> <p>The 2005 box office hit Monster-in-Law (2005) follows this trajectory and takes it to the extreme. Viola Fields (Jane Fonda) becomes manipulative and acts downright dirty to prevent her son, Kevin (Michael Vartan), from getting married to his fiancée Charlie (Jennifer Lopez) – who she thinks is not good enough for him.</p> <figure><iframe src="https://www.youtube.com/embed/njLr1z66EfA?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>This romantic comedy has the conventions of love, romance, a wedding, and overall impending chaos. It is about a mother trying to do what she thinks is best for her son, as well as the fragile links between romantic love, familial love and matriarchy.</p> <p>In parts, the film transgresses into slapstick territory, as Kevin remains oblivious of Viola’s volatile antics towards Charlie. The tension between the two strong female leads hilariously spirals out of control in the lead-up to the wedding.</p> <p>Monster-in-Law is a feel-good film that draws on the close bond between mother and child, making it good viewing for Mother’s Day.</p> <p><em><strong>– Panizza Allmark</strong></em></p> <h2>The Wild Robot (2024)</h2> <p>There’s a cultural belief that once your baby is in your arms, you’ll immediately know how to look after them, or that you can draw on your own experience of being mothered, or find the right path in one of eleventy billion parenting books.</p> <p>But even if you did have a good experience of being mothered (and many don’t), or you find some great books, parenthood remains a journey of uncertainty and trial and error.</p> <p>When I took my young children to see The Wild Robot, I laughed and cried way more than them. Not just because the animation was so beautiful, or because the story was so moving, but because of the non-didactic moments that resonated so strongly with how we parents feel.</p> <p>We often don’t know what we’re doing; we’re trying our best, and wishing it will be the right thing – playing out an internal war between wanting to protect our children and wanting them to forge their own path.</p> <p>In The Wild Robot, Roz the robot (voiced by Lupita Nyong'o) is focused on helping her adopted gosling Brightbill (Kit Connor) learn how to fly – something she has no experience of. More importantly, Brightbill must fly on a migration flight with other birds, where she can’t join him.</p> <figure><iframe src="https://www.youtube.com/embed/67vbA5ZJdKQ?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>The film mirrors the beautiful and horrifying knowledge parents carry: if we do our job, our children will become their own individuals who are able and willing to leave us. All we can hope is we’ve formed a bond that will make them want to return.</p> <p><em><strong>– Rebecca Beirne</strong></em></p> <h2>My Big Fat Greek Wedding (2002)</h2> <p>Was your mother born overseas? It’s likely. Nearly half of all Australians <a href="https://www.abs.gov.au/media-centre/media-releases/2021-census-nearly-half-australians-have-parent-born-overseas">have a parent born overseas</a>. Or perhaps you married into a family where your “new mum” was born overseas?</p> <p>Your mother-in-law counts on Mother’s Day. Don’t forget it. And if you married into a wonderfully loud Greek/Italian family as I did, then your mother-in-law is likely a hard worker who deserves to be entertained. So why not offer her, and all the mums in your life, a sweet, disarming rom-com about a clash of cultures and a life milestone all mums can get behind: a wedding. A Big Fat Greek Wedding, to be precise.</p> <p>Written by and starring Nia Vardalos, this film tells the tale of Toula Portokalos, who, at the “advanced” age of 30, remains persistently unmarried in the early aughts Chicago. In Greek terms, this is already a tragedy. The title does a lot of heavy lifting in terms of what comes next.</p> <p>The real charm of the film is the clash of cultures that anyone with any ethnic background will recognise.</p> <figure><iframe src="https://www.youtube.com/embed/O2mecmDFE-Q?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>My Big Fat Greek Wedding was a small film with huge global success. Will your mum care it was made with a budget of just US$5 million but <a href="https://fivethirtyeight.com/features/the-first-my-big-fat-greek-wedding-was-the-blockbuster-nobody-saw-coming/">grossed more than US$360 million worldwide</a>, making it one of the most profitable films of all time, with a more than 6,150% return? Probably not.</p> <p>But she’ll love John Corbett, that tall guy who was also in Sex in City (and he’s really good in this one). Just make sure you skip the sequels.</p> <p><strong><em>– Ruari Elkington</em></strong></p> <h2>Alien: Romulus (2024)</h2> <p>Not everyone wants to watch saccharine romantic comedies on Mothers’ Day. If you can relate, dystopian horror film Alien: Romulus (2024) offers much darker pleasures.</p> <p>Feminist scholars have long found the Alien franchise to be rife with symbolism and repressed fears about motherhood, birth and reproductive organs. Alien: Romulus goes further than the original 1979 film in making the theme of sexual violation explicit. As you might expect from Fede Álvarez, the director of Evil Dead (2013), there is plenty of body horror as human characters are assaulted and orally impregnated by Alien species.</p> <p>The film also includes neo-Marxist messages about “the company” and its violation of workers’ bodies. Working mums may enjoy the dark humour of a futuristic corporation that literally sucks the life out of workers before politely thanking them for their service.</p> <figure><iframe src="https://www.youtube.com/embed/OzY2r2JXsDM?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Leading action woman Rain Carradine (Cailee Spaeny) is more vulnerable and relatable than the iconic character Ripley of previous films. When Rain discovers her work contract has tipped over into slavery, she joins up with her ex-boyfriend Tyler (Archie Renaux) and his pregnant sister Kay (Isabela Merced) to hijack a space station.</p> <p>They must then manage a coolly indifferent IT operating system called “MU/TH/UR” to control the ship. The fact Kay is pregnant does not bode well; her baby eventually bursts out as a hideous alien-human mutant which tries to eat her.</p> <p>Alien Romulus is basically every unspeakable anxiety about pregnancy and motherhood realised through spectacular special effects. It’s also the franchise’s best film since the original.</p> <p><em><strong>– Susan Hopkins</strong></em><!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/255004/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p>By <em><a href="https://theconversation.com/profiles/jessica-gildersleeve-141286">Jessica Gildersleeve</a>, Professor of English Literature, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a>; <a href="https://theconversation.com/profiles/kate-cantrell-444834">Kate Cantrell</a>, Senior Lecturer – Writing, Editing, and Publishing, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a>; <a href="https://theconversation.com/profiles/kathleen-williams-538927">Kathleen Williams</a>, Senior Lecturer in Media, <a href="https://theconversation.com/institutions/university-of-tasmania-888">University of Tasmania</a>; <a href="https://theconversation.com/profiles/panizza-allmark-198784">Panizza Allmark</a>, Professor of Visual &amp; Cultural Studies, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a>; <a href="https://theconversation.com/profiles/rebecca-beirne-183948">Rebecca Beirne</a>, Senior Lecturer in Film, Media and Cultural Studies, <a href="https://theconversation.com/institutions/university-of-newcastle-1060">University of Newcastle</a>; <a href="https://theconversation.com/profiles/ruari-elkington-105955">Ruari Elkington</a>, Senior Lecturer in Creative Industries &amp; Chief Investigator at QUT Digital Media Research Centre (DMRC), <a href="https://theconversation.com/institutions/queensland-university-of-technology-847">Queensland University of Technology</a>, and <a href="https://theconversation.com/profiles/susan-hopkins-157472">Susan Hopkins</a>, Senior Lecturer in Education (Curriculum and Pedagogy), <a href="https://theconversation.com/institutions/university-of-the-sunshine-coast-1068">University of the Sunshine Coast</a></em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/stepmums-alien-mums-robot-mums-vengeful-mums-7-films-to-watch-this-mothers-day-255004">original article</a>.</em></p> <p><em>Image: Shutterstock</em></p> </div>

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Win a free Legacy Film and capture a life story that matters

<p>Have you ever wished you could freeze time – preserve a loved one’s stories, laughter and quiet reflections so they can be cherished for generations to come? Now you can.</p> <p>Danika Armytage, founder of <a href="https://www.bigstorieslittlefilms.com.au/" target="_blank" rel="noopener"><em>Big Stories Little Films</em></a>, recently appeared on <em>The Morning Show</em> to share her mission: helping Australians preserve their life stories on film. And now, she’s giving one lucky person the chance to win a professionally made legacy film – completely free. Take a look:</p> <p><iframe title="YouTube video player" src="https://www.youtube.com/embed/z1DPvQFmZFg?si=8yIDGnbaKRA20n_D" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p> <p>A legacy film is a beautifully crafted short documentary film that captures a life story, family history, and the wisdom passed between generations – something to treasure forever.</p> <p>Nominations are open throughout April, with the winner to be announced in May.</p> <p>Valued at over $3,000, the film can feature the life story of an individual or a couple. So how will the winner be chosen?</p> <p>“The story doesn’t need to be defined by fame or accolades,” Danika says. “Maybe the person has led an extraordinary life, overcome big obstacles, or perhaps this film is simply something their family deeply wants to preserve. When choosing the winning nomination, it’s really about the story that matters to the people who love them.”</p> <p>While the giveaway is open to everyone, Danika adds that they’re especially mindful of those for whom the timing feels particularly important.</p> <p>“There are some stories that really can’t wait to be told,” she explains. “But truly, I encourage everyone to apply.”</p> <p>If you or someone you love has a story worth telling – and treasuring – head to <a href="https://www.bigstorieslittlefilms.com.au/" target="_blank" rel="noopener">bigstorieslittlefilms.com.au</a> to submit a nomination. And if you <em>DO</em> win, be sure to contact us via <a href="mailto:contact@oversixty.com.au" target="_blank" rel="noopener">contact@oversixty.com.au</a> so we can share it with the world!</p> <p><em>Images: Big Stories Little Films</em></p>

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Your 2025 Oscars wrap!

<div class="theconversation-article-body">In a year with few surprises in the awards categories, there was also a dearth of surprises on the red carpet. The sartorial themes included sparkling metallics, coloured menswear and bows, bows and more bows.</p> <p>Metallic gowns that resemble the Oscar statue are a familiar sight at the Academy Awards and this year was no different. Some of the standouts included best actress nominee Demi Moore in a magnificently glittering silver Armani Privé gown, Selena Gomez in custom Ralph Lauren encrusted with 16,000 individual blush-toned jewel teardrops, and Emma Stone in a minimalist Louis Vuitton sheath covered in iridescent fish scales.</p> <p>In the menswear category, tuxedos reign supreme. This year was notable only for the diversity of colours in which these suits came.</p> <p>Best actor nominee Timothée Chalamet lived up to his reputation for monochrome, richly hued ensembles in a custom butter yellow leather suit by Givenchy, paired with a matching silk shirt and delicate neck brooch in place of a tie. His best actor nominated compatriot, Colman Domingo (one of the best dressed men in Hollywood) was pristine in a double-breasted red silk jacket with black lapels, black trousers and matching red shirt by Valentino, similarly eschewing a tie in favour of a fine gold brooch. Andrew Garfield wore louche chocolate brown Gucci and Jeremy Strong wore a suit by Loro Piana in an unusual tone of olive green.</p> <p>Bows of varying size and stature were perhaps the strongest theme of the night.</p> <p>Best actress winner Mikey Madison in black and pink Dior, best supporting actress nominee Felicity Jones in shimmering liquid silver Armani, Elle Fanning in white and black Givenchy and Lupita Nyong’o in white Chanel were all adorned with bows at their waists.</p> <p>The most remarkable bow of the night though was best actress nominee Cynthia Erivo in a structured deep emerald-green velvet Louis Vuitton gown, the broad, wing-like sleeves of which were crafted as a bow.</p> <p>Notable mentions must also go to those attendees who do not fit neatly into any thematic category. Best supporting actress nominee Ariana Grande wore a meticulously crafted pale pink Schiaparelli confection and Lisa (of Blackpink and now White Lotus fame) perfected a feminine take on masculine suiting in a tuxedo dress by Markgong.</p> <p>The only real surprise was the lack of political statements on display. Unlike recent years, when pins and ribbons in support of Ukraine and Palestine were widely worn, this year only Guy Pearce was spotted wearing a Free Palestine pin, Conclave writer Peter Straughan wore a Ukrainian flag pin and Kayo Shekoni had “free Congo” emblazoned on the sole of her high heels.</p> <p>– <em>Harriette Richards</em></p> <h2>The best picture: <em>Anora</em></h2> <p>And the best picture Oscar goes to … <em>Anora</em> – the film that was favoured to win, so no surprises here.</p> <p>Though he had been working for more than a decade at the time, writer-director-editor Sean Baker came onto the independent movie scene with a bang with 2015’s Tangerine, a gimmicky film that was mainly celebrated for being shot on an iPhone. Why this would be celebrated is anyone’s guess. I suspect it’s because of the “I could do it too” factor – something the average person certainly couldn’t say if we’re talking 35mm celluloid.</p> <p>Since then, Baker’s films have relished in embracing the digital, neon world, but always in a kind of sentimental and shallow, rather than critical, register. None of his films are awful – and maybe that’s saying something in this day and age. Anora also is not awful, but it’s not particularly memorable either.</p> <figure><iframe src="https://www.youtube.com/embed/z20wJkdKz98?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Anora follows a run of the mill American dream-type story about a hard-working stripper who seems to strike fairytale gold when a young, fun Russian oligarch falls in love with her. Only the dream turns out to be more of a nightmare (kind of) when things don’t quite work out and the film ends with the titular character once again independent and free.</p> <p>The idea of undercutting the fairytale setup of the typical rom-com is not at all original, and the film strikes me as even more schmaltzy in its rejection of the fairytale dream than if it had embraced it and played like a tween-focused Nickelodeon film (it’s about as poignant as this).</p> <p>The film’s cardinal sin, however – and it’s certainly not alone in this – is its critical overlength. Each of the film’s sections could have had some 20 minutes cut and we would have had an enjoyably tight romp at 80 minutes. Instead, Anora drags on, swept up in its imagining of its own profundity – at times pretentious, but mainly tedious.</p> <p>– <em>Ari Mattes</em></p> <h2>Not the year to stick a neck out</h2> <p>The speeches this year were conspicuously meek. No announcer majorly insulted anyone else. No winner assaulted anyone else. Even the James Bond retrospective lacked energy. What’s going on in Hollywood?</p> <p>There are clues that help explain this curious flatness. Host Conan O’Brien mentioned the pressure of “divisive politics” while reflecting on California’s wildfires. Several winners spoke about the importance of shared experience, of what unites us, of film as a medium that brings people together, a force for “<a href="https://pitchfork.com/news/oscars-2025-clement-ducol-and-camille-win-best-original-song-for-el-mal-from-emilia-perez/">good and progress in the world</a>” and “<a href="https://www.townandcountrymag.com/leisure/arts-and-culture/a63981052/adrien-brody-best-actor-oscars-2025-speech-transcript/">a reminder not to let hate go unchecked</a>”.</p> <p>The directors of No Other Land, receiving their Oscar for best documentary, shared the one clear critical voice. Palestinian Basel Adra wished his newborn daughter a life without the fear that governs daily life in his homeland. Israeli co-director Yuval Abraham agreed: “There is another way. It’s not too late for life and for the living. There is no other way.”</p> <p>However, that was the only moment people at the Oscars seemed willing to confront the political elephant in the room.</p> <p>Anora director Sean Baker used his last (of four!) acceptance speeches to compel more people to help keep cinema doors open. He made his point passionately: this was the best way to sustain an industry that could continue to make brilliant movies. That said, the most emotive speeches of past Oscars events went much further than just commenting on the bread and butter concerns of the film industry.</p> <p>This year, there were more clues in what people did not say. There were feints at Russian dictators – but nobody mentioned the war in Ukraine. There was no discussion of a certain election result, nor of filmmakers’ fears that Washington is now in the control of a governing faction that loathes them. Most revealing of all: nobody raised a peep about the President or his friends.</p> <p>Hollywood’s collective discipline was on show tonight – and 2025 is not the year to stick a neck out.</p> <p>– <em>Tom Clark</em></p> <h2>A banner year for independent film</h2> <p>Independent films were the big winners for this year’s Oscars. While many of the technical awards went to the big budget films, such as Wicked (the US$145 million film won costume design and production design) and Dune: Part 2 (made at a budget of US$190 million, and winning sound and visual effects), the night’s major awards went to small productions.</p> <p>While the definitions of “independence” and “studio” films don’t exist in a neat binary when it comes to production and global distribution, we can distinguish between film juggernauts and smaller films.</p> <p>Three independent films won significant awards that are of note. Latvian film Flow was the first independent film to win best animated feature, up against major films Inside Out 2 (Pixar Films) and The Wild Robot (DreamWorks).</p> <p>The film follows a cat, a dog, a capybara, a secretary bird and a ring-tailed lemur navigating a post-apocalyptic world with rising sea levels. The film also only used free and open-source software Blender and mostly used sounds from real world counterparts of the various characters. It was made for a budget of just €3.5 million (A$5.9 million).</p> <p>The best documentary film nominees were dominated by independent films. Notably, the winner No Other Land has sadly been unable to find a distributor to release the film in the United States. (It is available for streaming in Australia on DocPlay, and in select cinemas.) The film was only eligible because the Film Lincoln Centre in New York facilitated a one-week, qualifying theatrical run.</p> <p>The night’s top glories went to Anora, made on a budget of just US$6 million (A$9.7 million) and taking home the awards for best film, director, actress, screenplay and editing.</p> <p>In his acceptance speech for best director, Sean Baker spoke of the importance of films getting a theatrical release. Films, he said, are about humanity – and that is best experienced in watching a film with other people.</p> <figure><iframe src="https://www.youtube.com/embed/ozpV7LyJ4YQ?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>During awards season, Baker has often spoken about the importance of small budget films in the expression of core human experiences.</p> <p>The final message of the night went to Baker when he thanked the Academy for recognising a truly independent film: “Long live independent film!”</p> <p>Indeed, independent films ruled this year’s Oscars.</p> <p>– <em>Stuart Richards</em></p> <h2>Best actor and actress</h2> <p>Mikey Madison, who won the best actress award for Anora, is quite good in the role. That said, it’s difficult to evaluate her performance in such a meandering film.</p> <p>She tries hard playing a stripper who falls for Prince Charming – a Russian oligarch (Hollywood’s anti-Russian sentiment has certainly grown in recent years) who turns out to be a bit of a weakling with meanie parents. But Madison never really convincingly embodies the character, and we’re ever aware as we watch the film that she’s an actress working her way through relevant emotions and intensities.</p> <p>That said, Madison is good at yelling and stripping, and this is the main way she shows her chops here. She screamed well in Once Upon a Time… in Hollywood (2019), too. The bar this year was admittedly pretty low, and truth be told Madison’s performance in Anora (aside from Fernanda Torres for I’m Still Here) is probably the best out of the nominees.</p> <p>In contrast, Adrien Brody, who won the best actor award, is absolutely unforgettable in the flawed but magnificent The Brutalist – the best he’s been since The Pianist, and the deserved winner by a mile out of a similarly mediocre field. Brody is simply a pleasure to watch, and drives, in a wholly embodied way, this grandiose and exceedingly long film (the fact it doesn’t feel long is largely due to his magnetism).</p> <p>The screenplay, in which the character comes across as a combination of arrogant, sweet and at times comedic, allows Brody to display the full range of his talent, and he plays the whole thing with an endearing vulnerability. But, again, it’s unfair to compare Brody and Madison – The Brutalist is a spectacularly accomplished cinematic epic, while Anora feels as stylish and profound as a social media video (I know that’s the point, but that doesn’t make it any more compelling).</p> <p>– <em>Ari Mattes</em></p> <h2>A lacklustre year for music</h2> <p>This was a strong year for music-based films, with three of the most nominated ones being musicals of various types: the big-budget Broadway adaptation Wicked, the original film musical Emilia Pérez, and the musician biopic A Complete Unknown.</p> <p>The music of the ceremony itself was nicely assembled, with a live orchestra (conducted by Michael Bearden) accompanying proceedings from above the stage.</p> <p>But the show was marred by an absence: the best song nominations were not performed live. The new songs this year were so bland, however – especially when compared to the Wicked score and Bob Dylan – that I can hardly blame the producers. The nominations included a dull Elton John song, some soft guitar rock from Sing Sing, Diane Warren’s 16th (!) nominated song (more soft rock), and two forgettable songs from Emilia Pérez (one of which, El Mal, was the winner).</p> <p>So little faith did the Academy have in the songs that only a few seconds were played from each, mostly covered by a montage of interviews with the songwriters.</p> <p>This year’s nominated best scores were not much more memorable, but Daniel Blumberg deserved his win for The Brutalist. It demonstrates a high level of composition and orchestration craft. It uses edgy instrumental textures to increase the feelings of uncertainty and imbalance that the film imparts.</p> <p>The show included a lot of Wizard of Oz. Ariana Grande sang Over the Rainbow from the 1939 film and Cynthia Erivo sang Home from The Wiz, the 1974 soul musical based on the book. Then they performed Defying Gravity from Wicked together.</p> <p>Another subtle Wizard of Oz nod was the music played during the commercial breaks: a loop based on Brand New Day from The Wiz, whose 1979 film version had its music produced by the late Quincy Jones. Queen Latifah and backup dancers brought some much needed energy to the last hour of the ceremony with Ease on Down the Road, also from The Wiz, as part of a Jones tribute.</p> <p>One surprise was an unnecessary but enjoyable James Bond sequence featuring Margaret Qualley dancing to John Barry’s famous theme, a performance of Live and Let Die by K-pop star Lisa, Doja Cat singing Diamonds Are Forever, and Raye’s rendition of Skyfall.</p> <p>This plus the various numbers from the Oz Musical Universe only highlighted how lacklustre this year’s nominated music was.</p> <p>– <em>Gregory Camp</em></p> <p><!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><em>By <a href="https://theconversation.com/profiles/harriette-richards-992933">Harriette Richards</a>, Senior Lecturer, School of Fashion and Textiles, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a>; <a href="https://theconversation.com/profiles/ari-mattes-97857">Ari Mattes</a>, Lecturer in Communications and Media, <a href="https://theconversation.com/institutions/university-of-notre-dame-australia-852">University of Notre Dame Australia</a>; <a href="https://theconversation.com/profiles/gregory-camp-1280180">Gregory Camp</a>, Senior Lecturer, School of Music, <a href="https://theconversation.com/institutions/university-of-auckland-waipapa-taumata-rau-1305">University of Auckland, Waipapa Taumata Rau</a>; <a href="https://theconversation.com/profiles/stuart-richards-9983">Stuart Richards</a>, Senior Lecturer in Screen Studies, <a href="https://theconversation.com/institutions/university-of-south-australia-1180">University of South Australia</a>, and <a href="https://theconversation.com/profiles/tom-clark-4911">Tom Clark</a>, Chair of Academic Board, <a href="https://theconversation.com/institutions/victoria-university-1175">Victoria University</a></em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/from-the-fashion-to-the-speeches-to-the-music-this-was-an-oscars-of-few-surprises-5-experts-break-it-down-251264">original article</a>.</em></p> </div>

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Guy Sebastian's surprising new career move

<p>Guy Sebastian has announced his surprising new career move, just weeks after revealing he would be leaving his long-held judges role on <em>The Voice Australia</em>. </p> <p>After spending six seasons on the singing program, Sebastian is set to make a carer pivot into films, as he will make his big-screen debut later this year. </p> <p>Sebastian will appear in <em>Hindi Vindi</em>: an Australian indie film about a teen musician named Kabir, portrayed by Mihir Ahuja, who is trying to bridge a family generation gap through song.</p> <p>The Australian Idol winner was originally approached to just write an original song for the movie, before producers to ask him to take on the acting role of James, the father of the teenage singer.</p> <p>On Thursday, Sebastian was asked on <em>Sunrise</em> about the best part of working on the new film.</p> <p>“Working with great actors — in the film there is Nina Gunter, who has been in 180 Bollywood movies, and the actor who plays my son in the film as well — absorbing the craft,” Sebastian said</p> <p>“I am comfortable in the music world. I can sit in my studio knowing I have done my 10,000 hours but having actor friends and seeing how seriously they take the craft, I knew I was venturing into a world that I needed to pull something out from somewhere."</p> <p>“It is not the hat that I wear all the time. That was good, watching them and absorbing them in being able to turn on a dime and the emotion and that is the biggest thing I took away, how much is involved in bringing a character to life.”</p> <p>Sebastian spoke candidly about delving into his own ancestral roots for the role, tapping into his Malaysian and Sri Lankan Tamil heritage. </p> <p>“I moved to Australia when I was six years old or something,” he said.</p> <p>“There is a lot in this movie that I could draw on personally, my mum is from India and she had a pretty tough life. She was orphaned fairly young. Her story parallels that of my wife in the film."</p> <p>“My character gets married and takes her away from her family and that is kind of what happened to my mum. At 19 she moved away from her family, so there is a lot to tap into."</p> <p>“The accent, it actually came naturally because I generally soften my accent. When I am around my older aunties, you can’t be very Australian because they don’t know what you’re saying.”</p> <p>When asked if Sebastian thought acting would be a new career path for him, he responded, “I don’t know.”</p> <p>“Originally, I was just writing the music — I would be the singing voice of the character of my son — and it changed into me writing some songs for the film and then weirdly they saw a film clip where I played this ’70s porn star detective."</p> <div> </div> <p>“They saw that, and they were like ... ‘You are quite natural on camera, can you try out for the role?’ And now I am in it.”</p> <p>Sebastian has also written an original song, titled <em>Made of Heart</em>, for the film. </p> <p><em>Image credits: Sunrise </em></p>

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Oscars 2025: who will likely win, who should win, and who barely deserves to be there

<div class="theconversation-article-body"><em><a href="https://theconversation.com/profiles/ari-mattes-97857">Ari Mattes</a>, <a href="https://theconversation.com/institutions/university-of-notre-dame-australia-852">University of Notre Dame Australia</a></em></p> <p>We’ve probably all had a moment when we stopped taking the Oscars too seriously. For me, it was when Denzel Washington <a href="https://www.forbes.com/sites/timlammers/2024/05/02/why-denzel-washington-once-told-a-co-star-losing-an-oscar-is-better/#:%7E:text=Washington's%20second%20Oscar%20win%20%E2%80%94%20which,called%20at%20the%20Academy%20podium.">won best actor</a> for Training Day (2001), a crime film in which he displays virtually none of his acting chops.</p> <p>And as popular cinema becomes uglier (it’s mostly shot on digital video now, which almost never looks as good as film) and streamers (or logistics companies such as Amazon) take over film production, it’s becoming increasingly difficult to appreciate the point of the ceremony.</p> <p>From this year’s ten nominees for best picture, The Brutalist, Conclave and I’m Still Here are good – while (most of) the other nominees are only okay.</p> <h2>Some well-made films, but nothing outstanding</h2> <p>Writer-director Sean Baker’s Anora is nominated for best picture this year, after already <a href="https://aframe.oscars.org/news/post/2024-cannes-film-festival-winners-list-palme-dor">winning the Palme d’Or</a>. It’s a moderately sweet film in the tradition of Pretty Woman – having more nudity and sex, and a disappointing ending, doesn’t automatically make it edgier. It’s too long by at least half an hour, with some okay performances.</p> <p>It’s certainly not bad, but the idea that this is one of the “best pictures” of 2024 is alarming – or would be, if I wasn’t already so cynical. Most importantly, there’s nothing formally or aesthetically compelling about it, in which case I might have forgiven the silly (anti) Cinderella story.</p> <figure><iframe src="https://www.youtube.com/embed/vgrXTvL_l_c?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Another nominee, A Complete Unknown, is similarly well-made. Timothée Chalamet gives a predictably moody performance as Bob Dylan, and it’s fun to learn something about the relationships between Dylan and musical legends Joan Baez and Pete Seeger.</p> <p>But there’s also something fundamentally weird about watching a memoir about a person as iconic as Dylan. It veers too often into the terrain of impersonation, and this is even more off-putting given Dylan is still alive. Throw in Chalamet’s (certainly accomplished) singing of Dylan’s songs, and it feels like we’re watching someone do karaoke really well.</p> <figure><iframe src="https://www.youtube.com/embed/FdV-Cs5o8mc?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>The Substance tries to shock and titillate the viewer with its caricature of celebrity in an era of body modification and mega-media corporations. Demi Moore, Margaret Qualley and Dennis Quaid try hard to be funny, but the whole thing plays like an undergraduate essay that makes the same point ad nauseam. Though the actors surely had fun, there’s nothing compelling about their guffawing.</p> <p>This is also the problem with messy hybrid musical-thriller Emilia Pérez, the other over-the-top genre film tipped by some to win the award.</p> <p>The film, following a cartel leader who disappears and transitions into a woman, is overly dependent on making a point about the world outside of itself. This point is so obvious that it rapidly becomes tedious, with insufficient attention given to the formal and narrative tensions and ambiguities that compel an audience to engage with a film on a serious, visceral level.</p> <p>Dune: Part Two sounds and looks good, but is more meandering than Part One in developing Herbert’s unwieldy epic. If you liked Part One, you’ll probably like Part Two, but it’s not exactly cutting-edge material.</p> <figure><iframe src="https://www.youtube.com/embed/Qlbr7gJgBus?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Nickel Boys is a low-key, sentimental rendition of Colson Whitehead’s novel about two African American boys sent to a reform school in Florida in the early 1960s, and their coming of age as they survive myriad abuses. It’s watchable, if not particularly memorable.</p> <p>Finally, Wicked is, well … Wicked. If you like the musical you may like the film (although the live aspect of musicals makes this one play better on the stage than on the screen, unlike The Wizard of Oz, which was made for the screen). In any case, it’s not ridiculously bad, even though it is too long.</p> <h2>A few top contenders</h2> <p>Walter Salles’ I’m Still Here – which traces the struggle of an activist in Brazil after the forced disappearance of her husband in 1970 – works well in its evocation of place and time, and should soften the heart of even the most cynical viewer.</p> <p>Based on Marcelo Rubens Paiva’s 2015 memoir, the entire film is washed over with a faint scent of nostalgia that complements the idea of failing to find, and then remembering, that which is missing.</p> <figure><iframe src="https://www.youtube.com/embed/gDunV808Yf4?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Conclave, adapted from Robert Harris’ novel, is another solidly made affair. It follows the political machinations of the Vatican as the Dean of Cardinals sets up a conclave to elect a new pope after the previous one dies of a heart attack.</p> <p>Ralph Fiennes is as effective and sombre as usual in the lead role as Cardinal Lawrence and various twists and turns keep us watching throughout. But one suspects the primary pleasure of the film is that it seems to offer an insider’s view of the Vatican, including all the fetishistic processes and rituals.</p> <p>Despite its serious tone, Conclave is a fun romp. And what a pleasure it is to watch Isabella Rossellini on the big screen once again.</p> <h2>The strongest nominee</h2> <p>The film that is most classically like a best picture nominee is The Brutalist – an epic, visually-magnificent study of the struggles of (fictional) architect László Toth, a Hungarian Jew who moves to America following the Holocaust.</p> <figure><iframe src="https://www.youtube.com/embed/GdRXPAHIEW4?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Testament to the technical accomplishments of the film, and its superb creation of a coherent world, The Brutalist runs close to four hours (thankfully with an intermission) without becoming tedious. It chugs along with the relentless momentum of a steam engine.</p> <p>Adrien Brody is charming as Toth, endowing the character with a roguish and playful quality, and the supporting cast are solid. Akin to one of Toth’s constructions (as we hear in the epilogue section), the film neither indicates nor tells us anything beyond itself.</p> <p>There may be conclusions to be drawn regarding the relationship between art, power and capitalism, but the film gives you the space to devise these yourself. The film is, in a sense, beautifully mute.</p> <p>Out of all the nominations, The Brutalist is the only one that feels like a genuine best picture contender (with something of the grandeur of classical Hollywood cinema about it). Although many critics <a href="https://www.hollywoodreporter.com/movies/movie-features/oscars-2025-who-will-win-should-win-1236146220/">are</a> <a href="https://variety.com/lists/2025-oscars-predictions/">predicting</a> Anora will win, The Brutalist is the strongest of the nominees.</p> <p>That said, my pick for the best film of 2024 goes to a production that didn’t get a best picture nomination (as usual). Magnus von Horn’s The Girl With the Needle is a stunning Danish expressionistic nightmare that seamlessly integrates formal experimentation with a thrilling and horrific true crime narrative.</p> <p>It is absolutely sensational – the kind of thing you never forget. Thankfully, it has been recognised through its nomination for best international feature film.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/250783/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <figure><iframe src="https://www.youtube.com/embed/NdjhUNH5v3Q?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p><a href="https://theconversation.com/profiles/ari-mattes-97857"><em>Ari Mattes</em></a><em>, Lecturer in Communications and Media, <a href="https://theconversation.com/institutions/university-of-notre-dame-australia-852">University of Notre Dame Australia</a></em></p> <p><em>Image credits: Brookstreet Pictures</em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/oscars-2025-who-will-likely-win-who-should-win-and-who-barely-deserves-to-be-there-250783">original article</a>.</em></p> </div>

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Disney to change content warnings shown before "problematic" classics

<p>Disney will tone down the language of the content warnings on its streaming service that accompany classic movies with racial stereotypes. </p> <p>The current disclaimers played before older titles like <em>Dumbo</em> and <em>Peter Pan</em> said the film “includes negative depictions and/or mistreatment of peoples or cultures” adding, “these stereotypes were wrong then and are wrong now.”</p> <p>The new disclaimers will state: “This program is presented as originally created and may contain stereotypes or negative depictions,” and will not appear as introductory text that plays before the beginning of a film. </p> <p>The disclaimers will also only appear in the details section of certain films, where viewers will have to navigate to find it, decreasing their visibility. </p> <p>Disney will also replace its “Diversity &amp; Inclusion” performance factor used to evaluate executive pay with a new “Talent Strategy”, according to Sonia Coleman, Disney’s senior executive vice president and chief human resources officer. </p> <p>Other rollbacks of its diversity, equity and inclusion measures include the closure of its  Reimagine Tomorrow initiative, a website that highlighted stories and talent from underrepresented communities. </p> <p>Disney first added content warnings to older movies like <em>Dumbo </em>and Peter Pan in November 2019, due to racist depictions included in some of the films created by the studio in the 40s and 50s. </p> <p>Disney has become the latest major organisation to roll back its diversity measures following Donald Trump’s re-election as US President.</p> <p><em>Image: spatuletail / Shutterstock.com</em></p> <p> </p>

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Modern memories: Forget the memoir, create a life story film

<p>Every single person has a story to share, and a growing number of older Australians are choosing to record their life memories as short films. While writing memoirs can take years, creating a life story film takes just a few hours—and the resulting films are far more vivid than writing or looking through photo albums.</p> <p>Television producer and director Danika Armytage, known for producing shows like <em>The Block</em>, <em>River Cottage Australia</em>, <em>Travel Guides</em>, and <em>The Living Room</em>, has launched a company called Big Stories Little Films, which specialises in creating life legacy films. Since its inception in 2024, Danika has been busy bringing people's stories to life in film.</p> <p>“Our films tell life stories, capture family ancestry, and allow wisdom to be passed between generations,” Danika explains. “They are often a gift between family members—either commissioned as a birthday present from the kids, or as a film gifted from the grandparents to their grandkids - it’s like a film heirloom to pass between generations.”</p> <p>“I’ve created life story films for people from all walks of life,” says Danika, “from Commodores in the Navy, restaurateurs, fifth-generation sheep farmers, to immigrants who were born in concentration camps or fled war-torn countries. The films and stories are as unique as the people in them.”</p> <p>Danika was inspired to start the company after filming an interview with her own grandmother, Halimah, before she passed away. “The film became priceless to my family, especially after Granny died. Now my own children can meet their great-grandmother and feel connected to our family history, even though they never met her in person. Memories fade, but films are a time capsule that safeguards stories, keeping them as vivid as if you're sitting at the kitchen bench hearing them directly from your grandparent.”</p> <p><img src="https://oversixtydev.blob.core.windows.net/media/2025/02/Danika-and-gma.jpg" alt="" width="1280" height="720" /></p> <p><em>Big Stories Little Films creator</em> <em>Danika Armytage (L) and her inspiration, her grandmother Halimah </em></p> <p>“One of my favourite films was about brother and sister Raymond and Jennice Kersh (A.M.), now in their 80s, who ran the iconic Sydney restaurant Edna’s Table and were pioneers in serving indigenous ingredients in the Sydney restaurant scene. It was one of the first restaurants to serve Indigenous ingredients. Their story is inspiring, and their recollections of growing up in Pyrmont in the 1940s, a suburb where ‘everyone was poor but no one was lonely’ are a perfect example of how these films capture living history.” </p> <p>“Another of my favourite films was the story of John French, a fifth-generation sheep farmer from Tumut, in regional NSW. John can trace his family history all the way back to 1840, when his ancestors arrived from Scotland to work as shepherds. He still lives and works on the same land at the age of 79. His film was a gift from his daughter.”</p> <p><img src="https://oversixtydev.blob.core.windows.net/media/2025/02/Raymond-and-Jennice.jpg" alt="" width="1280" height="720" /></p> <p><em><span style="font-size: 16px; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; background-color: #ffffff;">Raymond and Jennice Kersh, who appeared in one of Danika's first films</span></em></p> <p>Big Stories Little Films began in Sydney but can film across Australia. To view examples of their films and learn more about their packages and pricing, visit their website: <a href="http://www.bigstorieslittlefilms.com.au">www.bigstorieslittlefilms.com.au</a>.</p> <p><em>Image credits: Supplied </em></p>

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2025 Oscar nominations revealed

<p>The nominations for the 97th Academy Awards have been announced after being postponed twice due to the devastating wildfires in LA. </p> <p>Aussie actor Guy Pearce has picked up a best supporting actor nomination for his role in The Brutalist. </p> <p>A few other Aussies who were nominated include Adam Elliot,  an Oscar-winning animator, who is up for best animated feature for <em>Memoir of a Snail,</em> and Greig Fraser for his cinematography in<em> Dune: Part Two</em>. </p> <p>This year's early star is Spanish-language Netflix film<em> Emilia Pérez</em>, with 13 nominations, followed by <em>The Brutalist </em>and <em>Wicked</em> on 10 each.</p> <p><em>Emilia Pérez </em>dominated the nominations picking up best picture, as well as best actress for Karla Sofía Gascón, the first openly trans actor ever nominated for an Oscar.</p> <p>The film also landed nominations for directing, original screenplay, two of its songs, and for supporting actress Zoe Saldaña.</p> <p>The Broadway adaptation of <em>Wicked</em> picked up 10 nominations including best picture and acting nods for Cynthia Erivo and Ariana Grande.</p> <p><em>The Brutalist </em>also scored 10 nominations including best picture, best director, and nominations for actor Adrien Brody, Guy Pearce, and Felicity Jones. </p> <p>The 97th Academy Awards will take place on March 2, 2025, at the Dolby Theatre in Hollywood, Los Angeles, which will be around 10am AEDT on March 3. </p> <h3><strong>Here is the full list of nominees</strong></h3> <p><strong>Best Picture</strong></p> <ul> <li>Anora</li> <li>The Brutalist</li> <li>A Complete Unknown</li> <li>Conclave</li> <li>Dune: Part Two</li> <li>Emilia Pérez</li> <li>I'm Still Here</li> <li>Nickel Boys</li> <li>The Substance</li> <li>Wicked</li> </ul> <p><strong>Director</strong></p> <ul> <li>Anora — Sean Baker</li> <li>The Brutalist — Brady Corbet</li> <li>A Complete Unknown — James Mangold</li> <li>Emilia Pérez — Jacques Audiard</li> <li>The Substance — Coralie Fargeat</li> </ul> <p><strong>Leading Actor</strong></p> <ul> <li>Adrien Brody in The Brutalist</li> <li>Timothee Chalamet in A Complete Unknown</li> <li>Colman Domingo in Sing Sing</li> <li>Ralph Fiennes in Conclave</li> <li>Sebastian Stan in The Apprentice</li> </ul> <p><strong>Leading Actress</strong></p> <ul> <li>Cynthia Erivo in Wicked</li> <li>Karla Sofia Gascon in Emilia Perez</li> <li>Mikey Madison in Anora</li> <li>Demi Moore in The Substance</li> <li>Fernanda Torres in I'm Still Here<span style="font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen, Ubuntu, Cantarell, 'Open Sans', 'Helvetica Neue', sans-serif;"><br /></span></li> </ul> <p><strong>Supporting Actor</strong></p> <ul> <li>Yura Borisov in Anora</li> <li>Keiran Culkin in A Real Pain</li> <li>Edward Norton in A Complete Unknown</li> <li>Guy Pearce in The Brutalist</li> <li>Jeremy Strong in The Apprentice</li> </ul> <p><strong>Supporting Actress</strong></p> <ul> <li>Monica Barbaro in A Complete Unknown</li> <li>Ariana Grande in Wicked</li> <li>Felicity Jones in The Brutalist</li> <li>Isabella Rossellini in Conclave</li> <li>Zoe Saldana in Emilia Perez</li> </ul> <p><strong>Animated Feature Film</strong></p> <ul> <li>Flow</li> <li>Inside Out 2</li> <li>Memoir of a Snail</li> <li>Wallace &amp; Gromit: Vengeance Most Fowl</li> <li>The Wild Robot</li> </ul> <p><strong>Cinematography</strong></p> <ul> <li>The Brutalist — Lol Crawley</li> <li>Dune: Part Two — Greig Fraser</li> <li>Emilia Perez — Paul Guilhaume</li> <li>Maria — Ed Lachman</li> <li>Nosferatu — Jarin Blaschke</li> </ul> <p><strong>Costume design</strong></p> <ul> <li>A Complete Unknown — Arianne Phillips</li> <li>Conclave — Lisy Christl</li> <li>Gladiator II — Janty Yates and Dave Crossman</li> <li>Nosferatu — Linda Muir</li> <li>Wicked —  Paul Tazewell</li> </ul> <p><strong>Documentary feature film</strong></p> <ul> <li>Black Box Diaries</li> <li>No Other Land</li> <li>Porcelain War</li> <li>Soundtrack to a Coup d'Etat</li> <li>Sugarcane</li> </ul> <p><strong>Documentary short film</strong></p> <ul> <li>Death by Numbers</li> <li>I Am Ready, Warden</li> <li>Incident</li> <li>Instruments of a Beating Heart</li> <li>The Only Girl in the Orchestra</li> </ul> <p><strong>Film editing</strong></p> <ul> <li>Anora — Sean Baker</li> <li>The Brutalist — David Jancso</li> <li>Conclave — Nick Emerson</li> <li>Emilia Pérez — Juliette Welfling</li> <li>Wicked — Myron Kerstein</li> </ul> <p><strong>International feature film</strong></p> <ul> <li>Brazil: I'm Still Here</li> <li>Denmark: The Girl with the Needle</li> <li>France: Emilia Pérez</li> <li>Germany: The Seed of the Sacred Fig</li> <li>Latvia: Flow</li> </ul> <p><strong>Makeup and hairstyling</strong></p> <ul> <li>A Different Man — Mike Marino, David Presto and Crystal Jurado</li> <li>Emilia Pérez — Julia Floch Carbonel, Emmanuel Janvier and Jean-Christophe Spadaccini</li> <li>Nosferatu — David White, Traci Loader and Suzanne Stokes-Munton</li> <li>The Substance — Pierre-Olivier Persin, Stéphanie Guillon and Marilyne Scarselli</li> <li>Wicked — Frances Hannon, Laura Blount and Sarah Nuth</li> </ul> <p><strong>Music (original score)</strong></p> <ul> <li>The Brutalist — Daniel Blumberg</li> <li>Conclave — Volker Bertelmann</li> <li>Emilia Pérez — Clément Ducol and Camille</li> <li>Wicked — John Powell and Stephen Schwartz</li> <li>The Wild Robot — Kris Bowers</li> </ul> <p><strong>Music (original song)</strong></p> <ul> <li>El Mal from Emilia Pérez; Music by Clément Ducol and Camille; Lyric by Clément Ducol, Camille and Jacques Audiard</li> <li>The Journey from The Six Triple Eight; Music and Lyric by Diane Warren</li> <li>Like A Bird from Sing Sing; Music and Lyric by Abraham Alexander and Adrian Quesada</li> <li>Mi Camino from Emilia Pérez; Music and Lyric by Camille and Clément Ducol</li> <li>Never Too Late from Elton John: Never Too Late; Music and Lyric by Elton John, Brandi Carlile, Andrew Watt and Bernie Taupin</li> </ul> <p><strong>Production design</strong></p> <ul> <li>The Brutalist — Production Design: Judy Becker; Set Decoration: Patricia Cuccia</li> <li>Conclave — Production Design: Suzie Davies; Set Decoration: Cynthia Sleiter</li> <li>Dune: Part Two — Production Design: Patrice Vermette; Set Decoration: Shane Vieau</li> <li>Nosferatu — Production Design: Craig Lathrop; Set Decoration: Beatrice Brentnerová</li> <li>Wicked — Production Design: Nathan Crowley; Set Decoration: Lee Sandales</li> </ul> <p><strong>Short film (animated)</strong></p> <ul> <li>Beautiful Men</li> <li>In the Shadow of the Cypress</li> <li>Magic Candles</li> <li>Wander to Wonder</li> <li>Yuck!</li> </ul> <p><strong>Short film (live action)</strong></p> <ul> <li>A Lien</li> <li>Anuja</li> <li>I'm Not a Robot</li> <li>The Last Ranger</li> <li>The Man Who Could Not Remain Silent</li> </ul> <p><strong>Sound</strong></p> <ul> <li>A Complete Unknown — Tod A. Maitland, Donald Sylvester, Ted Caplan, Paul Massey and David Giammarco</li> <li>Dune: Part Two — Gareth John, Richard King, Ron Bartlett and Doug Hemphill</li> <li>Emilia Pérez — Erwan Kerzanet, Aymeric Devoldère, Maxence Dussère, Cyril Holtz and Niels Barletta</li> <li>Wicked — Simon Hayes, Nancy Nugent Title, Jack Dolman, Andy Nelson and John Marquis</li> <li>The Wild Robot — Randy Thom, Brian Chumney, Gary A. Rizzo and Leff Lefferts</li> </ul> <p><strong>Visual effects</strong></p> <ul> <li>Alien: Romulus — Eric Barba, Nelson Sepulveda-Fauser, Daniel Macarin and Shane Mahan</li> <li>Better Man — Luke Millar, David Clayton, Keith Herft and Peter Stubbs</li> <li>Dune: Part Two — Paul Lambert, Stephen James, Rhys Salcombe and Gerd Nefzer</li> <li>Kingdom of the Planet of the Apes — Erik Winquist, Stephen Unterfranz, Paul Story and Rodney Burke</li> <li>Wicked — Pablo Helman, Jonathan Fawkner, David Shirk and Paul Corbould</li> </ul> <p><strong>Adapted screenplay</strong></p> <ul> <li>A Complete Unknown — Screenplay by James Mangold and Jay Cocks</li> <li>Conclave — Screenplay by Peter Straughan</li> <li>Emilia Pérez — Screenplay by Jacques Audiard; In collaboration with Thomas Bidegain, Léa Mysius and Nicolas Livecchi</li> <li>Nickel Boys — Screenplay by RaMell Ross &amp; Joslyn Barnes</li> <li>Sing Sing — Screenplay by Clint Bentley, Greg Kwedar; Story by Clint Bentley, Greg Kwedar, Clarence Maclin, John "Divine G" Whitfield</li> </ul> <p><strong>Original screenplay</strong></p> <ul> <li>Anora — Written by Sean Baker</li> <li>The Brutalist — Written by Brady Corbet, Mona Fastvold</li> <li>A Real Pain — Written by Jesse Eisenberg</li> <li>September 5 — Written by Moritz Binder, Tim Fehlbaum; Co-Written by Alex David</li> <li>The Substance — Written by Coralie Fargeat</li> </ul> <p><em>Image: Al Seib/AMPAS/ Shutterstock Editorial</em></p>

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Denzel Washington's awkward encounter with King Charles

<p>Denzel Washington and King Charles have had an awkward encounter at the <em>Gladiator II</em> premiere in London. </p> <p>The cast of the highly-anticipated film lined up to meet His Majesty, and as the King approached the legendary actor, Washington held out his arm to shake Charles' hand. </p> <p>As the moment took place, the actor told the King with a nervous grin, “I didn’t know if I was supposed to grab your hand or not”.</p> <p>Afterwards, the King asked him about his role in Gladiator II, where he plays the villainous Macrinus, to which Washington joked, “I’m, just an awful … I’m a lovely man you’ll see. I’m a lovely chap”.</p> <p>The King then told Washington, “You’ve been in so many films, it’s fantastic.”</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/reel/DCVGH0lowSg/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/reel/DCVGH0lowSg/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by ITV News Royals (@itvnewsroyals)</a></p> </div> </blockquote> <p>Denzel was joined at the premiere by his fellow co-stars Paul Mescal, Pedro Pascal, Joseph Quinn, and the film's director Ridley Scott. </p> <p>Gladiator II returns fans to Ancient Rome, but is set 20 years after the original <em>Gladiator</em> - released in 2000 and starring Russell Crowe - focusing on a now grown-up Lucius who is forced into slavery after a Roman invasion sees his home destroyed and his wife killed.</p> <p><em>Image credits: Eddie Mulholland/WPA Pool/Shutterstock Editorial </em></p>

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No more Mr Nice Guy: Tom Hanks blows up at movie critics

<p>Tom Hanks has taken aim at movie critics in a heated on Conan O'Brien's podcast, calling out the entire review section of the entertainment industry. </p> <p>The Hollywood actor launched into his tirade on the <em>Conan O'Brien Needs a Friend</em> podcast as he looked at how movie reviews and the general audience reception to films has changed over the years. </p> <p>“Now what happened is that time has become one of the metrics for how these things matter, right?” he said.</p> <p>“In the day it was just a fist fight. It was every movie you came out, are you going to make the playoffs or not? Guess what? No, kid, you’re 2 and 12 and you ain’t going nowhere. Or, you got a shot.”</p> <p>“It used to be you had these Rubicons that you crossed,” he continued. “First of all, do you love it or not? That’s the first thing. Yes, okay, you have crossed the Rubicon, right? The next Rubicon you cross is when the movie is completely done a year and a half later, and you see it for the first time, and you might like it. It doesn’t matter if it works or not, you look at it and say, ‘Hey, I think we acquitted ourselves pretty good.’ That’s Rubicon No. 2.”</p> <p>Hanks went on, “Then the critics weigh in, that’s Rubicon No. 3, and that’s always up down. ‘We hate it, we like it. This is the worst thing … Oh hey, oh hi Tom, I saw you in a movie. It was cute.’”</p> <p>“That’s when you ask the wife, ‘Hey, honey, could you take the revolver out of the glove box and hide it somewhere, because I think…,” Hanks joked.</p> <p>Podcast host O'Brien then brought up that Hanks was initially “disappointed” with his 1996 film <em>That Thing You Do!</em>, which marked his directorial debut, but the movie has since become a cult classic in pop culture.</p> <p>“Let me tell you something about these c***suckers who write about movies,” Hanks responded, before asking O’Brien and his co-hosts, “Can I say that?”</p> <p>“Somebody who wrote about it is, ‘Tom Hanks has to stop hanging around with veterans of TV, because this is just like the shot on TV and it’s not much of anything,’” Hanks recalled. “That same person then wrote about the cult classic <em>That Thing You Do!</em> Same exact person. They said, ‘All you need is 20 years between now and then, and it ends up speaking some words.’”</p> <p><em>Image credits: Shutterstock </em></p>

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6 reasons why people enjoy horror movies

<div class="theconversation-article-body"><em><a href="https://theconversation.com/profiles/shane-rogers-575838">Shane Rogers</a>, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a>; <a href="https://theconversation.com/profiles/coltan-scrivner-1475716">Coltan Scrivner</a>, <a href="https://theconversation.com/institutions/arizona-state-university-730">Arizona State University</a>, and <a href="https://theconversation.com/profiles/shannon-muir-2237282">Shannon Muir</a>, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a></em></p> <p>The creeping shadows and haunting decorations transform the everyday into something eerie at Halloween. And you might be thinking about scaring yourself with a <a href="https://editorial.rottentomatoes.com/guide/best-horror-movies-of-all-time/">good horror movie</a>.</p> <p>Grotesque imagery, extreme violence, startling jump scares and menacing characters are common elements, making viewers feel fear, dread and disgust.</p> <p>We generally aim to avoid these <a href="https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2023.1321053/full">negative emotions</a> in our everyday lives.</p> <p>So why would some people seek them out, and enjoy them, in horror movies?</p> <h2>1. Fear can be thrilling</h2> <p>There is lots of <a href="https://www.sciencedirect.com/science/article/abs/pii/S0149763423002063">overlap</a> between the emotions of fear and <a href="https://www.nature.com/articles/s41598-024-53533-y">excitement</a>. In both, <a href="https://www.annualreviews.org/content/journals/10.1146/annurev.neuro.051508.135620">stress hormones</a> are released that can produce physical symptoms such as increased heart and breathing rates, sweating and muscle tension. People also feel <a href="https://www.verywellmind.com/the-psychology-of-fear-2671696">more alert</a> and “on edge”.</p> <p>Research has <a href="https://www.frontiersin.org/articles/10.3389/fpsyg.2019.02298/full">consistently shown</a> people with personalities that crave intense emotional experiences, including fear and excitement, tend to enjoy horror movies.</p> <p>But for more fearful people, the jump scares and violent scenes can be <a href="https://doi.org/10.1093/oso/9780197535899.001.0001">too intense</a>. This can result in <a href="https://journals.sagepub.com/doi/full/10.1177/0956797620972116">coping behaviours</a> such as looking away or putting their hands over the ears, especially if they are <a href="https://doi.org/10.1037/ebs0000152">highly immersed</a> in the movie.</p> <p>Although, if they also happen to enjoy intense emotion, they may still enjoy the thrill of the ride.</p> <figure><iframe src="https://www.youtube.com/embed/llpsjbNQIns?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption><span class="caption">Movie makers work hard to get these ‘jump scares’ just right. And viewers enjoy the thrill.</span></figcaption></figure> <h2>2. There’s a sense of relief</h2> <p>People may enjoy horror movies because of a <a href="https://osf.io/preprints/psyarxiv/7uh6f">sense of relief</a> after a <a href="https://www.the-scientist.com/ts-digest/issue/science-experiments-from-the-afterlife-24-14?utm_campaign=TS_TS%20Digest%202.0%20Promotion&amp;utm_medium=email&amp;_hsmi=329250194&amp;utm_content=329250194&amp;utm_source=hs_email#why-do-some-people-enjoy-horror-movies-72181">scary moment has passed</a>.</p> <p>Watching a horror movie can be a bit of an emotional rollercoaster, with distinct <a href="https://www.sciencedirect.com/science/article/pii/S1053811920300094">peaks and troughs</a> of fear and relief over the course of the film.</p> <p>For example, in the <a href="https://www.imdb.com/title/tt1396484/">2017 movie It</a> the main protagonists survive a series of scary encounters with a demonic clown. The scary moments are separated by calmer scenes, prompting a rollercoaster of emotions.</p> <p>In the classic <a href="https://www.imdb.com/title/tt0073195/">1975 movie Jaws</a>, viewers experience relief from the scary moments, only to be scared again and again.</p> <figure><iframe src="https://www.youtube.com/embed/yFXG5QQYOvg?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption><span class="caption">Jaws is a rollercoaster of emotions.</span></figcaption></figure> <h2>3. They satisfy our morbid curiosity</h2> <p>Many horror movies feature supernatural themes and characters such as zombies, werewolves and vampires. So horror movies can help satiate a <a href="https://www.sciencedirect.com/science/article/abs/pii/S0191886921005183">morbid curiosity</a>.</p> <p>The violence, death, destruction and grotesque elements can provide curious people a safe space to explore things that are not safe (or socially appropriate) in the real world.</p> <figure><iframe src="https://www.youtube.com/embed/ZbdMMI6ty0o?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption><span class="caption">Horror movies can help people satisfy their curiosity about death. But why are they curious in the first place?</span></figcaption></figure> <h2>4. We can work out our limits</h2> <p>Horror movies can reflect our deepest fears and prompt introspection about our personal thresholds of fear and disgust.</p> <p>So some people may enjoy watching them to get a <a href="https://osf.io/preprints/psyarxiv/sdxe6">better understanding</a> of their own limits.</p> <p>Watching horror might also be a way to push personal boundaries to potentially become <a href="https://osf.io/preprints/psyarxiv/7uh6f">less fearful</a> or grossed out by things in real life.</p> <p>In a <a href="https://doi.org/10.1016/j.paid.2020.110397">study</a> one of us (Coltan) conducted, horror movie fans reported less psychological distress during the early months of the COVID pandemic compared with people not identifying as a horror movie fan.</p> <h2>5. They can be social</h2> <p>Some people say the <a href="https://doi.org/10.1037/ebs0000152">social aspect</a> of watching horror movies with others is a big part of their appeal.</p> <p>Watching with others might help some people feel safer. Alternatively, this might help <a href="https://osf.io/preprints/psyarxiv/b8tgs">amplify</a> the emotional experience by <a href="https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0223259">feeding off the emotions</a> of people around them.</p> <p>Horror movies are also a common pick as a <a href="https://www.imdb.com/list/ls023286138/">date night</a> movie. Being <a href="https://doi.org/10.1037/0022-3514.51.3.586">scared together</a> gives a good excuse to snuggle and take comfort in each other.</p> <h2>6. They give us pleasure in other people’s misery</h2> <p>Horror movies can provide the pleasurable emotion we feel when witnessing the misfortune of others, known as <a href="https://www.sciencedirect.com/topics/neuroscience/schadenfreude">schadenfreude</a>. This occurs most when we feel the person experiencing misfortune deserves it.</p> <p>In many horror movies the characters that suffer a gruesome fate are only side characters. Much of the time these unfortunate souls are made out to be unlikeable and often make foolish choices before their grisly end.</p> <p>For example, in the 1996 teen witch movie <a href="https://www.imdb.com/title/tt0115963/">The Craft</a>, the character Chris Hooker is portrayed as being cruel to women. Then he dies by being blasted out of a window.</p> <p>Despite the grisly nature of horror movies, a <a href="https://psycnet.apa.org/record/2024-43893-001">study</a> by one of us (Coltan) found horror fans seem to have the same levels of empathy as anyone else.</p> <figure><iframe src="https://www.youtube.com/embed/ZvLmyts6cEY?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption><span class="caption">In The Craft, viewers enjoy witnessing the misfortune of others, particularly if the character is a ‘baddy’.</span></figcaption></figure> <h2>What do I make of all this?</h2> <p>Horror movies allow us to confront our deepest fears through the <a href="https://doi.org/10.1027/1864-1105/a000354">safety of make-believe</a>.</p> <p>People enjoy them for lots of different reasons. And the precise combination of reasons differs depending on the specific movie, and the person or people watching it.</p> <p>What is certain though, is the <a href="https://www.the-numbers.com/market/genres">increasing popularity</a> of horror movies, with <a href="https://editorial.rottentomatoes.com/guide/best-horror-movies-of-all-time/">many</a> to choose from.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/241480/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><a href="https://theconversation.com/profiles/shane-rogers-575838"><em>Shane Rogers</em></a><em>, Lecturer in Psychology, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a>; <a href="https://theconversation.com/profiles/coltan-scrivner-1475716">Coltan Scrivner</a>, Behavioral Scientist, <a href="https://theconversation.com/institutions/arizona-state-university-730">Arizona State University</a>, and <a href="https://theconversation.com/profiles/shannon-muir-2237282">Shannon Muir</a>, Lecturer in psychology, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a></em></p> <p><em>Image credits: Shutterstock </em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/6-reasons-why-people-enjoy-horror-movies-241480">original article</a>.</em></p> </div>

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Freddy Krueger at 40 – the ultimate horror movie monster (and Halloween costume)

<div class="theconversation-article-body"><em><a href="https://theconversation.com/profiles/adam-daniel-301018">Adam Daniel</a>, <a href="https://theconversation.com/institutions/western-sydney-university-1092">Western Sydney University</a></em></p> <p>Movie monsters have captivated audiences since the days of early cinema. They evoke fascination and terror, allowing audiences to confront their fears from the safety of the movie theatre or living room.</p> <p>Arguably one of the most enduring and captivating of these monsters is Freddy Krueger, the villain of the <a href="https://www.imdb.com/title/tt0087800/">A Nightmare on Elm Street</a> series who celebrates his 40th screen birthday this November.</p> <p>Memorably played by Robert Englund, Freddy quickly became a cultural icon of the 1980s and 1990s. Beyond his burned face and iconic bladed glove, Freddy’s dark humour and acidic personality set him apart from other silent, faceless killers of the era, such as Michael Myers in <a href="https://www.imdb.com/title/tt0077651/?ref_=nv_sr_srsg_2_tt_6_nm_0_in_0_q_halloween">Halloween</a> or Jason Vorhees in <a href="https://www.imdb.com/title/tt0080761/?ref_=fn_al_tt_1">Friday the 13th</a>.</p> <p>Written and directed by horror maven <a href="https://theconversation.com/wes-craven-the-scream-of-our-times-46915">Wes Craven</a>, 1984’s A Nightmare on Elm Street garnered positive reviews for its innovative concept: Freddy stalked and attacked his victims in their dreams, making him inescapable and allowing him to tap into their deepest fears. The series (seven films plus a 2010 remake and <a href="https://www.imdb.com/title/tt0329101/?ref_=fn_al_tt_1">Freddy vs. Jason</a> spin offs) blended supernatural horror and surrealism with a dark and twisted sense of humour.</p> <h2>Scary … but funny</h2> <p>Humour was key to Freddy’s “popularity”. Both sinister and strangely charismatic, Freddy’s psychological torture of his adolescent victims often oscillated between terrifying and amusing.</p> <p>A famous kill scene from 1987’s <a href="https://www.imdb.com/title/tt0093629/?ref_=fn_al_tt_1">A Nightmare on Elm Street 3: Dream Warriors</a> demonstrates this paradox.</p> <p>Aspiring actress Jennifer drifts off to sleep while watching a talk show on TV. In her dream, the host of the talk show suddenly transforms into Freddy, who attacks his guest before the TV blinks out. When Jennifer timidly approaches the TV set, Freddy’s head and clawed hands emerge from the device, snatching her while delivering an iconic one-liner: “This is it, Jennifer – your big break in TV!”</p> <p>Freddy turns his victims’ fears or aspirations – their dreams – against them.</p> <figure><iframe src="https://www.youtube.com/embed/dCVh4lBfW-c?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption><span class="caption">‘Whatever you do, don’t fall asleep.’</span></figcaption></figure> <h2>Creating a monster</h2> <p>Craven has shared how the character of Krueger came to life in <a href="https://www.imdb.com/title/tt1510985/?ref_=fn_al_tt_1">Never Sleep Again: The Elm Street Legacy</a>, an oral history of the series.</p> <p>He described a childhood experience of seeing a strange mumbling man walking past his childhood home. The man stopped, he said, and looked directly at him “with a sick sense of malice”. This deeply unsettling experience helped shape Freddy’s menacing presence.</p> <p>The character’s creation also emerged from the filmmaker’s interest in <a href="https://www.iflscience.com/nightmare-on-elm-street-was-inspired-by-a-real-life-medical-mystery-60527">numerous reports of Southeast Asian refugees dying in their sleep</a> after experiencing vivid nightmares.</p> <p>In the film, Krueger’s origin story reveals him as a child murderer who was apprehended but released due to a technicality in his arrest. Seeking justice, the parents of his victims take matters into their own hands, and form a vigilante mob. They corner him in his boiler room and burn him alive. But Freddy’s spirit survives to haunt and kill the children of his executioners.</p> <h2>Cultural repression, expressed on film</h2> <p>Film critic and essayist <a href="https://www.cineaste.com/summer2019/robin-wood-on-horror-film-collected-essays-and-reviews#:%7E:text=Freudian%20theory%2C%20a%20crucial%20theoretical,the%20horror%20film%20perpetually%20enacts.">Robin Wood argued</a> horror films often bring to the surface elements society has repressed. These fears, desires, or cultural taboos are not openly acknowledged.</p> <p>But movie monsters act as manifestations of what society suppresses, such as sexuality, violence or deviant behaviour. American academic <a href="https://www.tandfonline.com/doi/abs/10.1080/01956051.1995.9943696">Gary Heba</a> argues Freddy is:</p> <blockquote> <p>an example of America’s political unconscious violently unleashed upon itself, manifesting everything that is unspeakable and repressed in the master narrative (perversion, child abuse and murder, vigilantism, the breakdown of rationality, order, and the family, among others), but still always present in the collective unconscious of the dominant culture.</p> </blockquote> <figure><iframe src="https://www.youtube.com/embed/UBrl4H0Uzng?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption><span class="caption">Actor Robert Englund calls Freddy Krueger ‘the gift that keeps on giving’.</span></figcaption></figure> <h2>The monster decades</h2> <p>The 1970s and 1980s marked a golden era for the creation of horror film nasties like Krueger, Myers, <a href="https://www.imdb.com/title/tt0072271/?ref_=fn_al_tt_3">The Texas Chainsaw Massacre</a>’s Leatherface and <a href="https://www.imdb.com/title/tt0094862/?ref_=fn_al_tt_19">killer doll Chucky</a>.</p> <p>Since then, the landscape of horror has shifted, with fewer singular monsters emerging. The diversification of horror sub-genres (zombie virus horror, anyone?), the rise of psychological horror (<a href="https://www.imdb.com/title/tt7784604/?ref_=nv_sr_srsg_2_tt_4_nm_2_in_0_q_heredi">Hereditary</a>), and an emphasis on human-driven terror (<a href="https://www.imdb.com/title/tt0416315/?ref_=nv_sr_srsg_1_tt_7_nm_0_in_0_q_wolf%2520creek">Wolf Creek</a>) or supernatural forces all contribute to this shift.</p> <p>While modern horror continues to thrive, few characters have achieved the same iconic status as Freddy – although some would argue Art the Clown from the recent <a href="https://www.imdb.com/title/tt4281724/">Terrifier</a> franchise and the reinvigorated Pennywise from <a href="https://www.imdb.com/title/tt1396484/?ref_=nv_sr_srsg_1_tt_6_nm_1_in_0_q_it">IT</a> could join this exclusive group.</p> <figure><iframe src="https://www.youtube.com/embed/ZuYoEtEI_go?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption><span class="caption">‘Five, six, grab your crucifix.’ A 2010 Nightmare on Elm St reboot failed to fire.</span></figcaption></figure> <h2>Happy Halloween!</h2> <p>Despite a <a href="https://www.imdb.com/title/tt1179056/">failed reboot in 2010</a>, the legacy of A Nightmare on Elm Street is strong, having influenced numerous filmmakers with its skilful mix of surrealism and slasher horror.</p> <p>However, it’s the orchestrator of the titular nightmares whose legacy is perhaps the strongest.</p> <p>With each Halloween, new fans choose Freddy for their costume. All it takes is a tattered striped sweater, a brown fedora hat, and a glove with sharp, finger-lengthening blades. Don’t forget makeup to re-create Krueger’s grisly facial burns. Sweet dreams!<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/240905/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><a href="https://theconversation.com/profiles/adam-daniel-301018"><em>Adam Daniel</em></a><em>, Associate Lecturer in Communications, <a href="https://theconversation.com/institutions/western-sydney-university-1092">Western Sydney University</a></em></p> <p><em>Image credits: New Line Cinema - IMDB</em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/freddy-krueger-at-40-the-ultimate-horror-movie-monster-and-halloween-costume-240905">original article</a>.</em></p> </div>

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Nova radio star breaks down in heartwarming interview with Kate Winslet

<p>Kate Winslet shared a heartwarming moment live on-air with Kate Ritchie on <em>Nova </em>radio on Wednesday morning.</p> <p>The Hollywood star appeared on <em>Fitzy and Wippa with Kate Ritchie </em>to promote her new movie, <em>Lee</em>, where Ritchie brought up the star's powerful comments about the scrutiny women in the public eye face. </p> <p>“I have to say to, I just want to thank you for the conversations that you have about body image," Ritchie said. </p> <p>“What we do have in common is that we somewhat grew up in the public eye; I grew up on a television show," the former<em> Home and Away</em> actress added. </p> <p>She then praised Winslet for continually speaking out about “women and young girls, growing up and having people comment about us and pass judgement and feel as though its OK to say certain things. I think we’ve always known that it's not OK."</p> <p>“But it’s been really hard conversation to have and it’s hard to sometimes stand up and say ‘This does not make me feel good’ and ‘it’s not OK for someone to speak that way’, and someone of your calibre, I hope you know the value of you having these conversations. Because it makes me, and I’m sure millions of other women …” she said while tearing up. </p> <p>“Oh she’s unravelling in here!” Winslet said in attempt to lighten the mood, as she shared a smile in agreement. </p> <p>“That’s really very kind,” said Winslet. “I think women are getting better at standing up for each other as well as standing up for ourselves.”</p> <p>Winslet has been very vocal about women standing up for themselves and has led by example, revealing in another interview that she was forced to defend herself to a crew member while filming the movie. </p> <p>“There’s a bit where Lee’s sitting on a bench in a bikini and one of the crew came up between takes and said: ‘You might want to sit up straighter.’ So you can’t see my belly rolls? Not on your life! It was deliberate, you know?” she told <em>Harper's Bazaar UK</em>. </p> <p><em>Images: Nova</em></p>

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30 years ago, Tarantino’s Pulp Fiction shook Hollywood and redefined ‘cool’ cinema

<div class="theconversation-article-body"><em><a href="https://theconversation.com/profiles/ben-mccann-398197">Ben McCann</a>, <a href="https://theconversation.com/institutions/university-of-adelaide-1119">University of Adelaide</a></em></p> <p>What might be the most seismic moment in American cinema? Film “speaking” for the first time in <a href="https://www.youtube.com/watch?v=8SzltpkGz0M">The Jazz Singer</a>? Dorothy <a href="https://www.youtube.com/watch?v=F4eQmTizTSo">entering</a> the Land of Oz? That <a href="https://www.youtube.com/watch?v=Yw_D3a2pZtk">menacing shark</a> that in 1975 invented the <a href="https://www.cbsnews.com/news/the-history-of-the-blockbuster-movie/">summer blockbuster</a>?</p> <p>Or how about that moment when two hitmen on their way to a job began talking about the intricacies of European fast food while listening to Kool &amp; The Gang?</p> <figure><iframe src="https://www.youtube.com/embed/2j_A6e-VESk?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Directed by Quentin Tarantino, <a href="https://www.imdb.com/title/tt0110912/">Pulp Fiction</a> (1994) celebrates its 30th birthday this month. Watching it now, this story of a motley crew of mobsters, drug dealers and lowlifes in sunny Los Angeles still feels startlingly new.</p> <p>Widely regarded as Tarantino’s masterpiece, the director’s dazzling second film was considered era-defining for its memorable dialogue, innovative narrative structure and unique blend of humour and violence. It was nominated for seven Academy Awards, made stars of Samuel L. Jackson and Uma Thurman, and revitalised John Travolta’s career.</p> <p>Pulp Fiction is dark, often poignant, and very funny. It is, as one critic <a href="https://www.theguardian.com/film/2015/apr/13/my-favourite-cannes-winner-pulp-fiction">describes it</a>, an “intravenous jab of callous madness, black comedy and strange unwholesome euphoria”.</p> <h2>A Möbius strip plot</h2> <p>Famous for its non-linear narrative, Pulp Fiction weaves together <a href="https://thescriptlab.com/features/main/1457-structure-of-pulp-fiction-method-in-the-madness/">a trio of connected crime stories</a>. The three chapters – Vincent Vega and Marsellus Wallace’s Wife, The Gold Watch and The Bonnie Situation – loop, twist and intersect but, crucially, never confuse the viewer.</p> <p>Tarantino has often paid tribute to French filmmakers <a href="https://faroutmagazine.co.uk/jean-luc-godard-quentin-tarantino-ultimate-hero/">Jean-Luc Godard</a> and <a href="https://faroutmagazine.co.uk/director-deeply-inspired-quentin-tarantino/">Jean-Pierre Melville</a>, whose earlier films also presented their narratives out of chronological order and modified the rules of the crime genre.</p> <p>By inviting audiences to piece Pulp Fiction together like a puzzle, Tarantino laid the way for subsequent achronological films such as Memento (2000), Go (1999) and Lock, Stock and Two Smoking Barrels (1998).</p> <h2>Pop culture meets postmodernism</h2> <p>In his influential essay Postmodernism, or the Cultural Logic of Late Capitalism, first published in 1984, political theorist Frederic Jameson coined the term “<a href="https://literariness.org/2016/04/04/fredric-jamesons-concept-of-depthlessness/">new depthlessness</a>” to describe postmodern culture.</p> <p>Jameson perceived a shift away from the depth, meaning and authenticity that characterised earlier forms of culture, towards a focus on surface and style.</p> <p>Pulp Fiction <a href="http://moviemezzanine.com/the-eyes-behind-the-mask-pulp-fiction-and-postmodernity-20-years-later/">fits</a> Jameson’s definition of depthlessness. It is stuffed with homages to popular culture and a vivid array of character types drawn from other B-movies – hitmen, molls, mob bosses, double-crossing boxers, traumatised war veterans and tuxedo-wearing “fixers”. It is a film of surfaces and <a href="https://wiki.tarantino.info/index.php/Pulp_Fiction_Movie_References_Guide">allusions</a>.</p> <p>Jackson, Travolta and Thurman feature alongside established 1990s box-office stars including Bruce Willis and industry stalwarts Harvey Keitel and Christopher Walken, both of whom have brief but memorable cameos.</p> <p>The film’s most iconic scene takes place at the retro 1950s-themed Jack Rabbit Slim’s diner. Thurman’s twist contest with Travolta fondly echoes Travolta’s earlier dancing in Saturday Night Fever (1977) and pays homage to other dance scenes in films such as 8 ½ (1963) and Band of Outsiders (1964).</p> <h2>Words and music</h2> <p>Film critic Roger Ebert <a href="https://www.rogerebert.com/reviews/great-movie-pulp-fiction-1994">once noted</a> how Tarantino’s characters “often speak at right angles to the action”, giving long speeches before getting on with the job at hand.</p> <p>Pulp Fiction is full of witty and quotable monologues and dialogue, ranging from the philosophical to the mundane. Conversations about foot massages and blueberry pie bump up against Bible verses and reflections on fate and redemption.</p> <p>The film’s 1995 Oscar for Best Original Screenplay was a fitting achievement for Tarantino, who many regard as <a href="https://medium.com/word-garden/tarantinos-conversations-are-the-best-in-movie-history-this-is-why-52e06de4f773">the snappiest writer</a> in film history. Countless other filmmakers have looked to replicate Pulp Fiction’s mashup of cool and coarse.</p> <figure><iframe src="https://www.youtube.com/embed/S6Vuj8tF-kk?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Needle drops are <a href="https://medium.com/cuepoint/the-music-of-pulp-fiction-8a13a7cdb5a8">just as important</a> in establishing Pulp Fiction’s mood and tone. The film’s eclectic soundtrack pings between surf rock, soul and classic rock ‘n’ roll.</p> <p>The soundtrack peaked at No. 21 on the Billboard 200 in 1994 and stayed in the charts for <a href="https://www.grammy.com/news/how-pulp-fiction-reinvented-the-film-soundtrack-anniversary">more than a year</a>.</p> <h2>Dividing the critics</h2> <p>Though it was officially released in October 1994, Pulp Fiction had already made a stir earlier that by winning the prestigious Palme d’Or at the Cannes Film Festival.</p> <p>Many expected Krzysztof Kieślowski’s Three Colours: Red to take <a href="https://www.theguardian.com/film/2011/nov/09/three-colours-red-cannes">the top prize</a>. Tarantino himself seemed stunned, telling the <a href="https://www.youtube.com/watch?v=tnS5pXQQmR4&amp;t=188s">Cannes audience</a>: “I don’t make the kind of movies that bring people together. I make movies that split people apart.”</p> <p>The film has divided critics ever since.</p> <p>Many adored Pulp Fiction for its intoxicating allure and sheer adrenaline-fuelled pleasure. To this day it maintains a 92% critic score on <a href="https://www.rottentomatoes.com/m/pulp_fiction">Rotten Tomatoes</a>. Film critic Todd McCarthy <a href="https://variety.com/1994/film/reviews/pulp-fiction-1200437049/">called it</a> a film “bulging with boldness, humour and diabolical invention”.</p> <p>But the backlash was equally robust. <a href="https://www.newstatesman.com/culture/2014/10/pulp-fiction-bad-film">Some</a> criticised the film for its excessive gore and irresponsible use of racial slurs. Screenwriting guru Syd Field <a href="https://sydfield.com/syd_resources/pulp-fiction/">felt</a> it was too shallow and too talky. Jean-Luc Godard, once one of Tarantino’s idol, apparently <a href="https://www.worldofreel.com/blog/2022/12/0eav5zg509ajlqjg9xc8em2m3xrorw">hated it</a>.</p> <p>Nonetheless, its financial success (a <a href="https://www.boxofficemojo.com/title/tt0110912/">box office return</a> of US$213 million from an $8 million budget) signalled the growing importance and cultural prestige of independent US films. Miramax, the studio that backed it, went on to <a href="https://www.google.com.au/books/edition/Down_and_Dirty_Pictures/aXn_CwAAQBAJ?hl=en&amp;gbpv=1&amp;dq=down+and+dirty+pictures,+biskind&amp;printsec=frontcover">become</a> a major force in the industry.</p> <h2>A lasting legacy</h2> <p>Shortly after Pulp Fiction’s release, the word “Tarantinoesque” <a href="https://www.oed.com/dictionary/tarantinoesque_adj">appeared</a> in the Oxofrd English Dictionary. The entry reads:</p> <blockquote> <p>Resembling or imitative of the films of Quentin Tarantino; characteristic or reminiscent of these films Tarantino’s films are typically characterised by graphic and stylized violence, non-linear storylines, cineliterate references, satirical themes, and sharp dialogue.</p> </blockquote> <p>Pulp Fiction has since been parodied and knocked off countless times. Hollywood suddenly began <a href="http://www.tasteofcinema.com/2016/the-10-worst-copycat-films-of-pulp-fiction/">mass-producing low-budget crime thrillers</a> with witty, self-reflexive dialogue. Things to Do in Denver When You’re Dead (1995), 2 Days In The Valley (1996) and Very Bad Things (1998) are just some example.</p> <p>Graffiti artist Bansky even <a href="https://banksyexplained.com/pulp-fiction-2004/">stencilled</a> the likeness of Jules and Vincent all over London, with bananas in place of guns. The Simpsons <a href="https://www.youtube.com/watch?v=4u6wR_2S4xQ">got in on the act</a> too.</p> <figure><iframe src="https://www.youtube.com/embed/4u6wR_2S4xQ?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Tarantino <a href="https://www.independent.co.uk/voices/profile-hollywood-s-hitman-quentin-tarantino-a-sadist-or-just-a-stylist-david-thomson-on-the-boywonder-director-of-pulp-fiction-1444551.html">once summed up</a> his working method as follows:</p> <blockquote> <p>Ultimately all I’m trying to do is merge sophisticated storytelling with lurid subject matter. I reckon that makes for an entertaining night at the movies.</p> </blockquote> <p>I’d say there’s no better way to describe Pulp Fiction.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/236877/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><em><a href="https://theconversation.com/profiles/ben-mccann-398197">Ben McCann</a>, Associate Professor of French Studies, <a href="https://theconversation.com/institutions/university-of-adelaide-1119">University of Adelaide</a></em></p> <p><em>Image credits: Miramax</em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/30-years-ago-tarantinos-pulp-fiction-shook-hollywood-and-redefined-cool-cinema-236877">original article</a>.</em></p> </div>

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Jelena Dokic shares exciting news

<p>Former tennis champion Jelena Dokic has announced that a new tell-all documentary about her life is soon to be realised. </p> <p>The film is titled <em>Unbreakable</em>, which is the same title as her first book, and will document Dokic’s life from a young kid under the control of her abusive father, all the way through her tennis career and eventual attainment of peace and happiness.</p> <p>“The trailer for Jelena Dokic’s <em>Unbreakable</em> documentary is so chilling,” tennis commentator Christian’s Court said.</p> <p>“It is set to release Nov. 7 in Australia and internationally sometime in 2025 on streaming,” while the producer's of the show saying, “This is the story of Jelena Dokic’s extraordinary survival.”</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/reel/DAksVevJ1qj/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/reel/DAksVevJ1qj/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Roadshow (@roadshow)</a></p> </div> </blockquote> <p>Dokic shared the news on Instagram, posting the trailer for the doco and welcoming messages of congratulations from friends and fans. </p> <p>The former tennis champion has long been very open about her mental health struggles and the abuse she suffered as a child at the hands of her father. </p> <p>She has also been praised for her recent work in the body image space, advocating for all people to feel comfortable in their own skin.</p> <p><em>Image credits: Instagram </em></p>

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‘We’re all Muriel’: why we still love Muriel’s Wedding, 30 years on

<div class="theconversation-article-body"><em><a href="https://theconversation.com/profiles/lisa-french-12625">Lisa French</a>, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a></em></p> <p>P.J. Hogan’s classic Australian film Muriel’s Wedding is 30 and it plays as well today as it did when it had its world premiere. Muriel might have been “terrible” – but the film was a great success.</p> <p>Australians love to laugh at themselves, and everyone loves an underdog. Muriel’s Wedding took more than A$15 million at the box office in Australia — making it one of the <a href="https://www.screenaustralia.gov.au/fact-finders/cinema/australian-films/feature-film-releases/top-australian-films">highest-grossing</a> Australian feature films of all time.</p> <p>As fun as the film is with its kitsch aesthetic, bold colour palette and garish costumes, it has a unique mix of comedy and serious drama. It slips from the absurd to painful realism, with more depth than your average comedy and a twist in the plot that made it an original take on the genre.</p> <p>While Australians generally have received it as hilarious, audiences elsewhere were more attuned to the tragedy, such as Muriel’s mother Betty’s suicide following relentless bullying, and Rhonda’s illness and disability. But it worked for audiences everywhere who warmed to the representation of friendship, its emotional compassion and critique of the narrow mindedness of small-town communities.</p> <h2>‘We’re all Muriel’</h2> <p>Sometimes it is the stars who can bring in an audience and make a film successful. However, although there were a lot of experienced actors in Muriel’s Wedding, Toni Collette (Muriel) and Rachel Griffiths (Rhonda) – whose performances were exceptional – were both playing lead and supporting roles for the first time in a feature film.</p> <p>It was also Hogan’s first feature, so it is unlikely star power drew in audiences (although all of them were to become stars, and Hogan later directed My Best Friend’s Wedding with Julia Roberts, one of the <a href="https://www.vanityfair.com/hollywood/2018/08/best-romantic-comedies-list">top romantic comedies of all time</a>).</p> <p>It did, however, have a wonderful trailer.</p> <p>I asked Rachel Griffiths what she thought was the key to the film’s success and she identified its universality: it translated for an array of audiences and enabled broad identification.</p> <p>She described the film as having one foot in the grotesque and the other in Ridley Scott’s 1991 getaway heist Thelma &amp; Louise – another film about female friendship, independence and individual growth.</p> <p>Griffiths gave the example of going with the film to New York on its release and discovering it was wildly meaningful to the LGBTQIA+ community. In conversation with a gay man in his late 20s, he described it as a parable for AIDS, which at that time was in full-blown crisis.</p> <p>According to Griffiths, he said: “We’re all Muriel. We don’t fit in.”</p> <figure><iframe src="https://www.youtube.com/embed/laHqRJeXeVU?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Growing up in small towns where they are “the freak”, with closet musical tastes, he said:</p> <blockquote> <p>We’re the outcasts in our family. Our fathers belittle us for being feminine. We escape to the big smoke with the promise of becoming ourselves and following our own journey. We replace our families who have rejected us with our chosen family who celebrate us.</p> </blockquote> <p>And when one of their own is struck suddenly by this terrible affliction, like Rhonda, they are sent home in humiliation, to be looked after, which is their worst fear. The aspiration is to be rescued by the adopted family and taken back to the big city and shown unconditional love.</p> <p>Griffiths says:</p> <blockquote> <p>That’s the ending and the survival story of both Rhonda and Muriel, you go back to that kind of pride moment, to be proud of who you are.</p> </blockquote> <p>For Griffiths, Rhonda and Muriel have “a kind of blood-sister friendship, a bond that can’t be broken”.</p> <p>We all long for that deep acceptance. It is a parable of inclusion, where Muriel and Rhonda truly see and accept each other and themselves.</p> <h2>A feminist film</h2> <p>I asked Griffiths if Muriel’s Wedding was received as feminist when it was released. She replied it wasn’t at the time it was made, but more recently this has come up.</p> <p>Her explanation of why this wasn’t considered 30 years ago is informative regarding film criticism. She elaborated that the critics at the time were 90% male and their take on feminism expected powerful female lead characters who pursue their goals and achieve in the face of competition.</p> <figure><iframe src="https://www.youtube.com/embed/oykn8YgGkJs?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>In this story, there is a girl escaping patriarchal control. Muriel’s father, Bill Heslop (Bill Hunter), is a bully and narcissist who blames everyone else – especially the women – for his failures.</p> <p>Griffiths aligns Muriel to the Cinderella myth because in the beginning she sees her value will only be ascribed to her once she marries. The film, Griffiths said, is “a fundamental kind of feminist journey”.</p> <p>The central focus is Muriel’s personal growth in rejecting ideology that promotes romantic coupling as the pinnacle of happiness for women. Instead Muriel embraces her own worth and her friendship with Rhonda. Marriage is portrayed as a patriarchal structure that ideologically binds women – the marriages are variously fraudulent, starting with Tanya and Chook, then Muriel and, ultimately, her mother.</p> <p>There are many elements that make Muriel’s Wedding an Australian classic, from the universal themes and relatability to how the story is able to extend beyond national borders. The film leaves us with admiration for resilience in the face of adversity, signalled by Muriel and Rhonda grinning assuredly at each other in the final scene.</p> <p>It is a unique and very real comedy/drama with a highly engaging aesthetic and a feminist message. It is an opportunity to laugh at ourselves, despite quite a lot of tragedy and adversity — which is a very Australian thing to do!</p> <p><em>The author wishes to thank Rachel Griffiths who was interviewed in Melbourne on August 17 2020.</em><!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/236793/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><em><a href="https://theconversation.com/profiles/lisa-french-12625">Lisa French</a>, Professor &amp; Dean, School of Media and Communication, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a></em></p> <p><em>Image credits: Miramax</em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/were-all-muriel-why-we-still-love-muriels-wedding-30-years-on-236793">original article</a>.</em></p> </div>

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Readers response: What movie have you rewatched the most?

<p>We all have our favourite movies. The ones that make us feel comforted and happy each time we rewatch them.</p> <p>We asked our readers what movies they have rewatched the most, and the response was overwhelming. Here's what they said. </p> <p><strong>Heather Fuchs</strong> - Pretty Woman, The Shawshank Redemption and The Green Mile.</p> <p><strong>Nola Schmidt</strong> - Gone with the Wind, Sound of Music and Breakfast at Tiffanys.</p> <p><strong>Isabel Pritchard</strong> - Love Actually, watched it every Christmas since it was released.</p> <p><strong>Angela Chapman</strong> - The Notebook, Back to the Future trilogy, The Sound of Music, Grease, Sleepless in Seattle, and Sweet Home Alabama.</p> <p><strong>Margie Grass</strong> - Grease! Was watched over and over and over, would finish watching and go "oh let’s do it again". My kids knew the words by heart and did a running commentary when they replayed it again.</p> <p><strong>Naomi Thacker </strong>- The Rise of Skywalker, Star Wars. I must have seen it 10 or more times.</p> <p><strong>Terri Cameron</strong> - The Lion King with my eldest grandson who was very young then and is 30 now. Neither of us seemed to tire of it. It was just a wonderful film.</p> <p><strong>Beverley Hoffman</strong> - LOTR, Harry Potter, The Ten Commandments.</p> <p><strong>Christine Thompson</strong> - Sound of Music, Sleepless in Seattle, Pretty Woman. Anything that you would class as a “chick flick” really.</p> <p><strong>Maggie Geeves</strong> - Steel Magnolias.</p> <p><strong>Rhonda Woods</strong> - The Castle. </p> <p><em>Image credits: Shutterstock </em></p>

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The Adventures of Priscilla, Queen of the Desert at 30: more important, enjoyable and vital than ever

<div class="theconversation-article-body"><em><a href="https://theconversation.com/profiles/stephen-gaunson-265553">Stephen Gaunson</a>, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a></em></p> <p>The lavender painted bus named “Priscilla” continues to pick up new fans while never going out of favour with its legion of original devotees, 30 years after its release.</p> <p>The Adventures of Priscilla, Queen of the Desert was shot on location in and around Sydney, Broken Hill, Coober Pedy, Kings Canyon and Alice Springs over six weeks in 1993.</p> <p>Directed by Stephan Elliott, the film screened in the <em>Un Certain Regard</em> section of the May 1994 Cannes Film Festival, winning <a href="https://nla.gov.au/nla.obj-885750952/view?sectionId=nla.obj-888737519&amp;searchTerm=priscilla+queen+of+the+desert&amp;partId=nla.obj-885806856#page/n13/mode/1up">critical and popular acclaim</a> for its positive portrayal of LGBTQI+ characters.</p> <p>Awards came, most notably for costume designers Tim Chappel and Lizzy Gardiner who won the Academy Award for Best Costume Design for their sparkly, sequin-filled costumes.</p> <p>The film’s cultural brilliance lies in juxtaposing the extreme flamboyance of the costumes and props against the equally extreme rural natural desert landscape. The unexpected revelation for audiences was how perfectly these contrasting elements harmonised.</p> <figure><iframe src="https://www.youtube.com/embed/wGWWeourHUg?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>A smash hit</h2> <p>Less than 12 months since its release, the Film Finance Corporation (FFC) of Australia had the rare success of <a href="https://if.com.au/why-the-adventures-of-priscilla-queen-of-the-desert-turned-the-government-a-profit-in-just-12-months/">fully recouping</a> its A$1.67 million investment.</p> <p>Initially hesitant due to Elliott’s disappointing box office return on his debut feature, Frauds (1993), the FFC was convinced after the screenplay gained attention at Cannes. The film exceeded predictions, grossing more than $16 million in Australia.</p> <p>The film was socially and critically embraced as an instant classic.</p> <p>Ask cinema employees from this time and they will all share similar memories of lines of people outside the cinema doors eager to watch and rewatch (and rewatch again) the musical road movie about a pair of drag queens (Hugo Weaving and Guy Pearce) and a transgender woman (Terence Stamp) as they set out from Sydney on a bus journey across the Australian outback.</p> <figure><iframe src="https://www.youtube.com/embed/tex3dw3RjGk?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>The casting today seems like more of a sure bet than it did in 1994. Stamp was a British actor of <a href="https://www.theguardian.com/film/2015/mar/12/terence-stamp-i-was-in-my-prime-but-when-the-60s-ended-i-ended-with-it">legendary status</a>, having gained critical accolades in the 1960s in films such as Billy Budd, The Collector and Far from the Madding Crowd. However Stamp was equally a <a href="https://www.dailymail.co.uk/home/event/article-4869258/Terence-Stamp-79-bids-farewell-active-sex-life.html">regular tabloid subject</a> for his high-profile romances with film star Julie Christie and supermodel Jean Shrimpton.</p> <p>Would audiences be willing to go with the idea of this playboy as the trandsgender woman, Bernadette?</p> <p>It is now impossible to consider any actor better able to deliver Terrance Stamps’s deadpan sardonic lines so perfectly: “Don’t ‘Darling’, me, Darling. Look at you. You’ve got a face like a cat’s arse.”</p> <p>Pearce and Weaving also were a risk. Neither were box office marquee stars at the time. Pearce was known as a lovable Mike from the popular television soap opera, Neighbours. Weaving was a critically respected actor known more for his quirky small parts than as a star in his own right.</p> <p>Both were perfect casting, launching them onto Hollywood careers. Pearce as Adam was a remarkable revelation.</p> <figure><iframe src="https://www.youtube.com/embed/p2QiCFAQ-qQ?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>The chemistry and connection between the three lead actors makes the film truly succeed.</p> <p>Never do their performances seem showboating or forced. Each has their own arc, personality and journey. And when they climb Kings Canyon in full drag regalia at the film’s end there is something moving about what they have been able to accomplish together.</p> <p>A film that begins to be a slight and joyful comedy about drag performers becomes a deeper essay on the importance of lived experience and friendship (or, dare I say, mateship).</p> <h2>More vital than ever</h2> <p>Drag has a <a href="https://www.remindmagazine.com/article/3894/drag-through-decades-film-tv/">long history</a> in mainstream cinema with its own codes and references.</p> <p>The Adventures of Priscilla, Queen of the Desert is crucially different by it not being about “straight” men masquerading as women to mask their actual identity. Instead, Elliot’s film rather positively celebrates these characters in drag as their true and authentic selves.</p> <p>This film stood with others as a wave of Australian cinema in the 1990s unashamedly wanting to celebrate an Australia juxtaposing the blokey masculine stereotype.</p> <p>Ocker characters (men and women) appear in this film, but ultimately they are publicly humiliated for their homophobia. Bernadette kneeing in the groin the vicious and vulgar Frank (Kenneth Radley) often receives a big cheer from cinema audiences: “Stop flexing your muscles, you big pile of budgie turd,” Bernadette scorns.</p> <figure><iframe src="https://www.youtube.com/embed/9nc12yOA4jM?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Perhaps the true star of the film were not the actors as much as the iconic 1976 Japanese model Hino Freighter Priscilla bus that became the set for several scenes in the film. Because the bus interior was such a small set, there was no room for the crew with many actually in shot, hiding under clothes and other props.</p> <p>The bus, long thought to be lost, was <a href="https://www.abc.net.au/news/2024-04-12/bid-to-restore-priscilla-queen-of-the-desert-bus/103699136">rediscovered</a> on a farm in New South Wales in 2019. The bus is currently being restored, with an aim to have it on display at the National Motor Museum in Birdwood, Adelaide Hills, in 2026. Perhaps it will be good timing for shooting the recently announced <a href="https://deadline.com/2024/04/priscilla-queen-of-the-desert-movie-sequel-original-cast-1235890358/">potential sequel</a>.</p> <p>30 years after its original release The Adventures of Priscilla, Queen of the Desert seems more important, enjoyable and vital than ever. All aboard, Priscilla. Long may she run.</p> <hr /> <p><em>RMIT Capitol will be hosting a <a href="https://www.rmit.edu.au/thecapitol/events/2024/september/the-adventures-of-priscilla-queen-of-the-desert">screening and introductory panel discussion</a> on September 11 with the film’s costume designer Tim Chappel, executive producer Rebel Penfold-Russell, Melbourne Queer Film Festival program director Cerise Howard, historian Kristy Kokegei and Stephen Gaunson.</em><!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/235424/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><a href="https://theconversation.com/profiles/stephen-gaunson-265553"><em>Stephen Gaunson</em></a><em>, Associate Professor in Cinema Studies, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a></em></p> <p><em>Image credits: Metro Goldwyn Mayer</em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/the-adventures-of-priscilla-queen-of-the-desert-at-30-more-important-enjoyable-and-vital-than-ever-235424">original article</a>.</em></p> </div>

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Craig McLachlan set to return to Aussie screens

<p>Six years after being "crucified" in the public eye, Craig McLachlan is set to make his return to Aussie screens. </p> <p>The 58-year-old was unexpectedly approached by movie producers who asked him to star in a new feature film, almost seven years since his last on-screen project. </p> <p>Speaking exclusively with <a href="https://www.dailymail.co.uk/tvshowbiz/article-13716307/Craig-McLachlan-Neighbours-Rocky-Horror-comeback-movie.html" target="_blank" rel="noopener"><em>Daily Mail Australia</em></a>, McLachlan said his return to the big screen had helped him deal with the "poisonous hate" that had eaten away at him since he was hounded out of the industry six years ago.</p> <p>In 2018, McLachlan was forced to quit his leading role as Frank-N-Furter in a 2018 production of <em>The Rocky Horror Picture Show</em> after three of his former female co-stars accused him of serious inappropriate behaviour while performing alongside him four years earlier.</p> <p>The former <em>Neighbours</em> star was charged with 13 offences of assault and indecent assault after Victoria Police investigated the allegations but he was ultimately acquitted on all counts following a four-week trial in December 2020.</p> <p>Now, McLachlan candidly admitted that he was unlikely to ever find it in his heart to forgive the former co-stars who accused him of sexual harassment, and that he still blames them for "ruining" his life.</p> <p>"Here's the thing: hate is a poisonous thing. You have to get rid of the hate – and I've done that," he said.</p> <p>"Forgiveness is a different story. That’s hard s**t to do."</p> <p>McLachlan said he had "fallen out of love" with show business after his "public crucifixion" but decided to accept the role after discussing the opportunity with long-term partner Vanessa Scammell. </p> <p>"I only just went and met with the producers and the director last week and agreed to do it," he said.</p> <p>"I wasn't expecting to be approached about a return to acting… and certainly not about signing on to do a film – it was a complete surprise."</p> <p>"But it's a fantastic Australian production and Vanessa and I sat down and discussed it - and talked about whether it was the right thing for both of us. When you've had your life destroyed like mine has been, you need to take a little time to rest and recalibrate."</p> <p>"I haven't rushed into anything. I needed to think about what we wanted to do and what - physically - I could do. And we decided this was the right thing for us."</p> <p>McLachlan, who has been in therapy since the allegations first came to light, said he was grateful for his partner's support during the difficult few years, and is happy to be making his return to screen with a new lease on life. </p> <p>"When the s**t kicks off in the media, people start running for cover and they're afraid to put their heads up to support you publicly because they're worried about them getting chopped off," he said. </p> <p>"I'll be forever grateful to those people who did stand by me – people like Vanessa – who helped me keep going."</p> <p>"Irrespective of what anyone has ever said or alleged about me, nothing I do or say would ever be done intentionally to make anyone else feel uncomfortable. I know that’s not who I am."</p> <p>"But as for forgiveness? Ask me again about forgiveness a little further down the track."</p> <p><em>Image credits: Getty Images </em></p>

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