Sweet Country confirms yet again that Warwick Thornton is one of Australia’s most important filmmakers. Steeped in Australia’s brutal colonialist past and evoking other contemporary classics such as The Proposition and The Tracker, Sweet Country continually defies and undermines genre expectations with its masterful command of film style and its confronting tale of racism and injustice.
I, Tonya touches on many themes – including living in the media spotlight, competitive sport and class in American – but at its core it is film about abuse, resilience and obsession. The filmmakers skilfully manage the shifting tones and the often outrageous details in Tonya Harding’s story; oscillating between dark uncomfortable humour and moments where the tragic human face behind the sensationalism is revealed.
Guillermo del Toro’s best film in a decade, The Shape of Water is wonderful fantasy-horror-romance film that provides a new variation on one of my favourite tropes: the misunderstood monster. Reminding me of both Terry Gilliam and Tim Burton at their best, this is still distinctively a del Toro film where the horror, grief and beauty of humanity is expressed through a dark fantastic tale of love and desire.
Faces Places is one of the end results of a glorious collaboration between iconic French filmmaker Agnès Varda and photographer/muralist JR. Following the pair as they create giant portraits of people they meet by chance in regional France, this sweet, moving, funny and playful film is an exploration of friendship, the artist process, personal identity and embracing the new.
I’m still not sure if Brawl in Cell Block 99 is a nightmarish right wing nationalist fantasy or a brutal condemnation of the nihilism and toxic masculinity sweeping the USA under Trump. Either way, this ultra-violent descent into hell where a brooding self-righteous man fights his way through the prison system to protect his wife and unborn child, is a breath-taking visceral spectacle of shattered bones that I couldn’t take my eyes off.