As I’m currently caught up in the thick of the Melbourne International Film Festival and didn’t get this summary done beforehand, my notes on my favourite films from July are briefer than ever. I also didn’t even get to see all the films I wanted to see, particularly A Most Wanted Man, so maybe that will appear on my August list. But for now here’s what I did see in July, better later than never…
I first saw Snowpiercer while travelling abroad late last year and I was thrilled to see it again recently as I think it’s become my favourite film to-date by Bong Joon-ho. I love the visceral and exhilarating action, I love the production design, I love the dark humour and I love the social satire. Not only is the film a savage condemnation of class politics, but it examines the conditions under which class-based oppression thrives with all aspects of the film designed to facilitate that critique.
I have to keep reminding myself that Calvary is a blacker-than-black comedy, because it left me devastated. This is extremely sophisticated storytelling that transcended all expectations I had for writer/director John Michael McDonagh. The insights into personal and collective guilt, and the mix of ideas concerning redemption, forgiveness, sin and martyrdom, make this an essential film for trying to understand just how much damage the centuries of sex abuse and cover-ups committed by the Catholic Church have done to individuals and communities.
I have been a fan of Rolf de Heer’s films for over 20 years now and Charlie’s Country yet again validates my belief that he is one of the most important Australian filmmakers of all time. After making so many progressive films, often about marginalised people, including two previous films with an Indigenous focus but set in the past, this is the film I’ve been waiting for de Heer to make for some time. And it doesn’t disappoint. Closely collaborating with co-writer/lead actor David Gulpilil, de Heer delivers an insight into the extent to which white Australia has continually intruded upon the lives of the First Australians on all levels. While this is overall a sobering film, it also contains a lot of humour thanks to Gulpilil’s performance and just the right amount of hope to prevent the audience from throwing their hands up into the air and declaring the issues to be all too hard to deal with.
I feel vaguely guilty for including Lucy here, but I had such a great time with this B-grade mash-up of junk science, stoner-philosophy and Hong Kong action-inspired spectacle. The film’s conceptual audacity and the way it fully embraces its internal ridiculousness is completely exhilarating, and it’s by far the most fun I’ve had watching a Luc Besson film since Léon: The Professional 20 years ago.
Otherwise, I really enjoyed Ritesh Batra’s The Lunchbox, which is a sort of Hindi In the Mood for Love/Brief Encounter with interesting insights into some of the social issues within contemporary India. I found the Australian documentary All This Mayhem very compelling, having next to no knowledge of the rise and then very disturbing fall of skateboarding champions Tas and Ben Pappas. It’s been a year since I saw The Selfish Giant, which is now on general release in Australia, but at the time I was extremely impressed by the way it transformed a parable by Oscar Wilde into a very moving social-realist film set in a poverty stricken part of northern England. And I was finally able to catch up on Ulrich Seidl’s Paradise trilogy, which has recently been released on DVD, with Paradise: Love from 2012 being the standout film from that trilogy. Set at a Kenyan beach resort where older Austrian women go to have sex with the young locals, the cocktail of gender, race, class and body politics on offer in this film results in a wonderfully uncomfortable, provocative, confronting and darkly funny film.
CINEMA AUTOPSY 