The opening of Jalanan recalls The Act of Killing with titles displayed over Indonesian urban landscapes informing us that 7,000 of Jakarta’s 12 million inhabitants work as buskers. This documentary stoops under the poverty line to follow three such buskers over roughly a half-decade. Like The Act of Killing, it’s the work of a foreign…
I was ten years old when I produced my first piece of propaganda. The homeroom of my school was named after ex-student and Victoria Cross recipient Robert Grieve. We were dutifully informed of the heroism Captain Grieve demonstrated in defence of our nation, bombing and killing two gun crews in the First World War and…
Tokyo Tribe practically demands hyperbolic metaphors, but the best way to describe Sion Sono’s maximalist rap musical is offered up by the extreme auteur himself in the film’s opening scene. Sono’s camera swoops and bucks through neon-streaked Tokyo streets in an impressive long shot, surveying scantily-clad ladies, raving doomsayers, overweening gangsters and a wizened old…
Programming the opening night of a film festival must make for a tricky task. Whatever the remit of the festival proper, programmers tend to feel compelled to put a warm-hearted crowd-pleaser in front of the audience on the first night, which tends to attract a positive-but-underwhelmed critical reaction more often than not (with some exceptions:…
Ever since my childhood, anime has assumed a dangerous, forbidden aura. I can recall in my early teens as these Japanese animated movies and television shows began to encroach upon video stores’ territory, scant shelves and then populated aisles of big eyes, big swords and big breasts. Give or take an Astroboy, I never watched…
Hal uses intricate futurism to examine universal themes of bereavement and obligation. Running at a slim sixty minutes, it’s simplistic in its narrative and themes, but finds a gentle profundity and quiet beauty nonetheless. Ryôtarô Makihara’s anime feature begins with a robot idling in a peaceful stream; the tranquillity is shortly interrupted by the explosion…
Jennifer Kent’s The Babadook remains one of the best – and scariest – horror movies of 2014, with only Oculus providing any real competition (for further details, check out my review from earlier the year!). Halloween heralded both its home entertainment release and its international cinematic release, where it’s raked in much more dosh than…
The last time I wrote about the Brisbane Asia Pacific Film Festival, my attitude was one of scepticism. And, I’ll concede, a modicum of bitterness. You see, the birth of BAPFF meant the death of BIFF (the Brisbane International Film Festival), the latter cut down in its prime (at twenty-one years old!) to pave…
Let me introduce you to Lou Bloom (Jake Gyllenhaal). Who is Lou Bloom? Well, in his own words, he’s a hard worker. He sets high goals and he’s been told that he’s persistent. He’s looking for a job, and now he’s thinking that television news might be something that he could love as well as…
Jason Reitman’s Men, Women & Children has become the critical pariah of 2014, earning near-universal condemnation at its Toronto premiere and an abysmal 29% on Rotten Tomatoes. The main criticism is directed at its condescending, alarmist approach to social media, as though it might as well be titled Tumblr Madness. I’m not convinced that the…
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