Rising A Year Away – The Official Trailer for “The Dark Knight Rises” is finally here

As most cinema goes are just getting down from their Harry Potter highs, induced by the franchisees highly successful and well crafted finale Harry Potter And the Deathly Hallows Part 2 (2011) [which will be discussed further in an upcoming post], I have been looking ahead to the finale of a smaller film franchise. Emerging onto our screens in 2005, Christopher Nolan exposed international cinema goers to the dark, corrupt and shockingly realistic world of Gotham City, a city run by the mob, controlled by unbureaucratic cops and oh yeah a billionaire playboy who dresses up as a Bat.

Yes, we all know the story for the highly successful Batman Begins (2005) which reinvented the Batman franchisee after an 8 year absence, following the ridiculously camp Batman & Robin (1997). By bringing a new cast, led by Oscar winners Christian Bale, Michael Caine and Morgan Freeman, Nolan exposed audiences to the deeper humanity and realism within Bob Kane’s original comic book series, creating a Gotham that could represent any major metropolis across the world. His commitment to a realistic story, layered characters and mind-blowing action saw the films’s sequel, The Dark Knight (2008), break box office records and, indirectly, bring about one of the biggest changes in the Academy Award’s history, with the Academy extending the Best Picture category from 5-10 films (and now from anywhere between 5-10 films) in order to prevent any other publicly and critically regarded films from being unjustifiably snubbed. However, the film did secure two wins out of eight nominations, including a well deserved posthumous win for Heath Ledger (The Joker).  Together these two films have garnered a large international fan base, millions of dollars in box office/DVD/Blu Ray sales and created an incredible online excitement around the franchises final installment The Dark Knight Rises (2012), which is currently filming in the UK.

But as the first teaser trailer was released yesterday, via the Warner Brother’s YouTube account, I cannot help but feeling sad that this monumental franchise will come to end next July. For this series, like Harry Potter in many ways, has changed how people view going to the movies, creating a buzz and excitement that is felt across almost every person. While I too am excited for Nolan’s next offering, and I will be speculating about what the plot will entail (is Bane working for the League of Shadows? Will Selina Kylie/Catwoman be an enemy or foe? Will Marion Cotillard’s character really by Talia al ghul (the daughter of Liam Nesson’s character from Batman Begins?) I will also be sad to see another great franchise end after less than 10 years.

If you haven’ already watch the teaser, speculate yourself and feel the bipolar emotions of excitement and grief as we prepare for what will be, no doubt, 2012’s Best Film of the year!

Disney & Pixar’s ‘Brave’ Teaser is just that – teasing us of what is to come in 2012!

I need to admit that I am a sucker for a good animation movie, especially those who have warranted the creative support of the studio with the mouse ears. Sadly, I am finding 2011 to be a little bit lackluster, with the majority of animations either being uninteresting looking sequels (i.e. Cars 2, Happy Feet 2and Kung Fu Panda 2) or cartoon classics being adapted to CGI (à la The Smurfs). After last years high quality turn out (with my two favourites being Toy Story 3 and How to Train Your Dragon) I am just yearning for animators to throw something at me which screams originality.

Thankfully, Disney and Pixar have released a first look teaser for its next grand adventure Brave (2012), which is slated for a June 22 release next year. Seeing this trailer and knowing it is still a year away is killing me! It looks like the perfect animation, carrying the same mythological beauty and intrigue as How to Train Your Dragon with the trademark Pixar/Disney feel. Oh and its set in SCOTLAND! Why oh why must they tease us so.

However, with some of the most highly anticipated films of 2012 being released within this May-July period, including The Dark Knight Rises (2012), The Avengers (2012) and The Amazing Spider-Man (2012), Brave may have to be just that if it hopes to gain any attention/box office recognition. But with anything Disney/Pixar it will draw a great younger audience, and if kids like it adults are sure to follow as well. This may be the perfect film if you feel like taking a break from the smorgasbord of superhero blockbusters.

If you haven’t already seen the teaser or the preliminary plot take a look below. I have definitely add this to my list of must sees in 2012, have you?

Since ancient times, stories of epic battles and mystical legends have been passed through the generations across the rugged and mysterious Highlands of Scotland. In “Brave,” a new tale joins the lore when the courageous Merida (voice of Kelly Macdonald) confronts tradition, destiny and the fiercest of beasts.

Merida is a skilled archer and impetuous daughter of King Fergus (voice of Billy Connolly) and Queen Elinor (voice of Emma Thompson). Determined to carve her own path in life, Merida defies an age-old custom sacred to the uproarious lords of the land: massive Lord MacGuffin (voice of Kevin McKidd), surly Lord Macintosh (voice of Craig Ferguson) and cantankerous Lord Dingwall (voice of Robbie Coltrane). Merida’s actions inadvertently unleash chaos and fury in the kingdom, and when she turns to an eccentric old Witch (voice of Julie Walters) for help, she is granted an ill-fated wish. The ensuing peril forces Merida to discover the meaning of true bravery in order to undo a beastly curse before it’s too late.

Courtesy of Disney’s Official ‘Brave’ website

Oscars 2012 Update: Tinker Tailor Soldier Spy…Awesome

I know we are still a fair way off next/this year’s award season (I have never really understood how they titled it!) but I have just seen the latest trailer for Tinker Tailor Soldier Spy (2011), which is slatted for a October 27, 2011 release date. And does it look incredible or what! With its bleak exteriors, flawless costume and set design and a star studded cast to boot, including last year’s Best Actor Winner Colin Firth, rising star Tom Hardy and Gary Oldman, this feels like a definite Awards Season Contender.

I’m excited for this film for a number of reasons but mainly because of the films leading actor. Gary Oldman is an old [pun intended] favourite of mine. While most audiences would only remember him from his role as Commissioner Gordon in Christopher Nolan‘s Dark Knight series or Serius Black in the Harry Potter franchise, he is an actor with a career that extends across 3 decades with iconic performances in such films as the Fifth Element(1997) and The Contender (2000). For years Oldman has been overlooked by the Academy and I feel that this film may be the one that they cannot ignore, even if its just a long over due nomination.

You can find the very minimal synopsis, courtesy of IMDB, below:

In the bleak days of the Cold War, espionage veteran George Smiley [Gary Oldman] is forced from semi-retirement to uncover a Soviet agent within MI6’s echelons.

Or if the trailer has left you hungry for more, you can seek out the films stimulus, John le Carré‘s acclaimed novel of the same name, or the 1979 BBC miniseries which starred Sir Alec Guinness in the role of George Smiley. I plan to find the book as soon as I can!

“The Tree of Life” feels like a natural classic (…to most audiences).

Director: Terrence Malick

Cast: Brad Pitt, Jessica Chastain, Fiona Shaw and Sean Penn.

Release Date: June 30, 2011

When The Tree of Life premiered at Cannes, in May, audiences were left torn about how to appreciate a film which covers so much and says so little at the same time. It is a film that does not shy away from the tough questions about God, death and what the real meaning of life is. And it hopes to achieve all of this through visionary poetry rather than a linear screenplay. So it was only natural that Terrence Malick’s film, his first in six years, received both uproarious applause and noticeable boos, reflecting what most critics feel is a movie that you are either going to love or hate.

However, the Cannes grand jury loved it, awarding it the Palm D’Or (best picture at the festival). And like them, I loved it too. For as I sat at the State Theatre, Sydney for the film’s Australian premiere, I didn’t find any reason to hate it, because what is there to hate when you are swept up in the beauty and magic of life?

To understand the narrative of this film you need to understand the history behind it’s creation. Terrence Malick had the idea for The Tree of Life back in the 1970s, while working on his film Days of Heaven (1978). He originally wanted to explore the origins of life on earth but struggled to find a story that would allow this to be achieved. The Tree of Life is that story as it upholds Malick’s original idea while exploring the lives of the O’Brien family.

The film tells the story of Jack (Sean Penn) who, on the anniversary of his brother’s death, reflects on his childhood in the American suburbia of 1950s and the people who influenced it. As both young and old Jack learn to juggle the conflicting influences of their mother (Jessica Chastain) and father (Brad Pitt), the film explores the notions of God, life and all the moments we miss, when we are not looking.

To me this feels like a near perfect film, as it illustrates a great amount of originality that has not been seen in a very long time. Even with critics comparing it to Stanley Kubrick’s 2001: A Space Odyssey (1968), particularly the origins of life sequence with the infamous dinosaurs, Malick’s focus on the lives of the O’Brien family allows the film to individualise in thematic areas that Kubrick’s film didn’t. This is due to the well constructed screenplay, penned by Malick as well, and the breathtaking cinematography of Emmanuel Lubezki (Sleepy Hollow, Children of Men). Lubezki’s ability to capture both the simplest and most complex events, including the awe inspiring 25 minute origins of life sequence, is utterly captivating and reflects the film’s beliefs around the presence of God within every detail of life. However, full credit needs to be given to musical composer Alexandre Desplat (The King’s Speech, The Curious Case of Benjamin Button). Desplat’s original score lifts every scene with it’s naturalistic sound, complimenting the film’s originality and poetic undertones superbly.

While this is a film that relies heavily on minimal dialogue, the cast still find ways to shine. Brad Pitt is a stand out, balancing Mr. O’Brien’s masculine dominance and subtle vulnerability in a realistic manner. He is a character that you fear but at the same can emotionally feel for, which is a credit to Pitt’s mature performance. However, the only criticism I can find is in Malick’s under-utilisation of Sean Penn, whose appearance feels more like a cameo rather than a full fledging character. But even in his minimal screen time he still maintains a great presence that is enjoyable to watch.

While I loved The Tree of Life, I must stress that this is a film that while divide audiences and, like with the Cannes audience, you will either love it or hate it. But regardless this is a film with a large amount of originality and ambition, which is something that can be agreed upon by all viewers. For that is what makes Terrence Malick such an incredible artist. While you may not agree with his interpretations of evolution, God and life you cannot deny the masterful way in which he executes it. For me the The Tree of Life is a beautiful and poetic journey that captures the true heart and essence of life, and the presence God may or may not have in it. And if you are willing to look a little closer within your own life, you may actually see the truth within Malick’s work.

A balance of scientific intrigue and human emotion, “Project Nim” is A grade material

Director: James Marsh.

Producer: Simon Chinn.

Release Date: Premiere – Sydney Film Festival 2011, Australian Wide – TBA

In On Natural Selection, Charles Darwin wrote, “Nothing is easier than to admit in words the truth of the universal struggle for life, or more difficult.” While Darwin did not write this with any particular animal in mind, his words have strong importance to James Marsh’s new documentary feature Project Nim, an inspirational, heartfelt and tragic exploration of the first chimpanzee to be taught sign language and his consequential life. For as Marsh examines the tumultuous life of one intelligent animal, he asks the audience to consider the universal struggle of all animals when science and human interest take precedence above each creatures natural existence.

Following on from his 2008 Academy Award winning film Man On Wire (Best Documentary Feature) Marsh directs the story of Nim, a chimpanzee who became the centre of a landmark US 1970s’ science experiment which aimed to answer the question regarding nature verses nurture by showing that an ape could learn to communicate through sign language if raised like a human. Exploring his childhood in the adeptly dubbed ‘Project Nim’ and his adult journeys through an unnatural human society, the documentary questions what we really know about the true nature of animals and the impact of our actions upon it.

Documentaries, in general, are hard movies to make, as the right balance of information and story are needed so as to avoid becoming overtly preachy or sappy. However, when this balance is achieved a documentary can become some of the finest pieces of cinema on offer. Project Nim is a clear example of just that. Due to Marsh’s talented directorial skills, the film avoids becoming a stern lecture about the woes of animal exploitation by encouraging the audience to engage with Nim as an equal, rather than just an animal.

Through the intercutting of archival footage of Nim’s life and first hand interviews, Marsh creates an atmosphere whereby the audience doesn’t just learn about Nim’s life but they feel it too. Supported by a perfectly developed musical score by Dickon Hinchliffe, the audience is drawn into an environment where they share Nim’s happiness, fear and pain, while at the same time being enlightened on affect that human intervention had upon all of this. While the audience empathises with Nim’s experiences, the cleverly integrated historical and scientific information reminds the audience that this is not a natural existence and one that could have been avoided. This allows the dramatic brutality of Nim’s later life to really sink in with the audience, in an informative and, largely, emotional way.

For Project Nim is not a straight forward documentary about a scientific project, it is an excellent biography about the life of one incredible chimpanzee. Due to Marsh’s commitment to both the emotional and informative nature of Nim’s story, the audience is encouraged to empathise with Nim on a human level while never forgetting the unnatural influence humanity had upon it. Similar to Darwin’s argument, Marsh confronts the audience with a statement that is both easy and difficult to comprehend. If life is a natural struggle then why are we making it so much harder on animals who are, naturally, no different from us? For if we don’t want to struggle through life, why should they?

For those still unsure about this film, I advise you check out the trailer below. This movie is definitely worth the price of an admission ticket.

Truthful and Confronting, “The Beaver” is a lot more than a two dimensional puppet

Director: Jodie Foster

Cast: Mel Gibson, Jodie Foster, Jennifer Lawrence and Anton Yelchin.

Release Date: July 21, 2011

When Kylie Killen first penned the screenplay for The Beaver, studio executives hoped that this would be one of 2011 biggest comedies, with Steve Carrell set to play a man who adopts a puppet beaver to help him recover from a severe case of depression.

However, Jodie Foster saw more to this story than a two dimensional comedy. She believed that Killen’s at times comical depiction of depression was largely tragic in nature as emphasised the desperate and confronting measures people can go to in order to distance themselves from reality. By opting for a more balanced approach, Foster turned a more-than-likely-flop into a highly compiling drama about the tortuous, comic and confronting issues that not only defines depression but life as well.

Taking over from Carrell, Mel Gibson plays Walter Black, CEO to a large toy company that is going bankrupt, husband to an unhappy wife (Foster) and father to a resentful son (Yelchin). Walter Black is a severely depressed man, living a life that appears completely drained of any form of happiness. That is until he meets ‘The Beaver,’ a discarded puppet who provides Walter with an escape from reality by offering to take over his life. But what value does happiness have if it is not really you who is living it?

The Beaver owes a great deal of its success to the outstanding talents of its director and lead actor. Foster’s masterful direction allows the film to soar as not only an insightful exploration of depression but also of the personas people create in order to disconnect from the reality of their existence. Her balanced focus on the stories of both Walter and his son Porter (Yelchin) illustrates how the issues facing depression suffers can be mirrored within people from all walks of life, while emphasising an important point about the hereditary issues associated with such a condition. While the love story that pursues between Porter and head cheerleader Nora (Lawrence) is at times a little cliched, Foster utilises these lighter moments as a nice reminded that life can still be a beautiful thing regardless of current circumstances.

However, this is Mel Gibson’s movie, with an incredible return-to-form performance that far surpasses anyone else in the cast. Through his engrossing characterisations of both Walter and the Beaver, Gibson illustrates his true professionalism and talent as a lead actor.  If it were not for his career detracting public antics you could definitely expect some awards season recognition.

Although this is not a perfect film, due to a number of timing inconsistencies, The Beaver just seems to work regardless. Through its commitment to a realistic story, the film encourages the audience to not only appreciate the confronting issues associated with depression but also the universal importance of embracing your own reality regardless of how harsh or unbearable it may seem. For it is only through understanding who we are that we can ever really find happiness.

“33 Postcards” that should have been returned to sender

33 Postcards  

Director: Pauline Chan

Cast: Guy Pearce, Claudia Karvan, Lincoln Lewis and Zhu Lin.

Release Date: TBA

The Australian film industry was given a major ego boost in 2010, with the incredible international and local success of films including David Michôd’s Academy Award nominated Animal Kingdom. They’re ability to capture an aspect of Australian life that felt truthful and insightful, both here and around the world, illustrated the power and potential of our ever increasing film market. In 2011, Pauline Chan’s 33 Postcards, the first co-production between China and New South Wales, was set to illustrate, once more, how original and creative the Australian film industry can be. However, this film failed to reach anything close to what should be expected from an Australian drama, by creating a film that was not only tiresome to watch but seemed tiresome to make.

33 Postcards follows the story of 16 year old orphan Mei Mei (Chinese newcomer Zhu Lin), who dreams of leaving her Chinese orphanage in order to meet her Australian sponsor, Dean Randall (Guy Pearce), a typical Sydney-sider living the perfect life. When her Orphanage’s Choir is invited to sing in Sydney, Mei Mei takes the opportunity to seek Dean out and explore the idyllic life he has depicted in postcards for over 10 years. However, what she finds is tragically a lot different to anything she could have possibly imagined.

In many ways this film was a contextually original idea. The concept of exploring the relationships that develop between orphans and their international sponsors is very timely, particularly with the increasing local interest in international humanitarian support and social justice. However, Pauline Chan directs this film with the same level of enthusiasm as an episode of Home And Away or Neighbours. What the audience is presented with is a serious of uninteresting and cliched events, sluggishly propelling forward without any consideration for originality or accuracy. Too much emphasis is placed on the stereotypical, with every character and setting evoking a sense of déjà vu that leaves audience yarning for the predictable ending ahead.

The acting does nothing to alleviate the technical failures of this film. Guy Pearce and Zhu Lin are disappointingly unwatchable as Dean and Mei Mei. Their pseudo father/daughter relationship is completely lost and never able to connect with the audience because neither character feels realistic. Claudia Karvan is the film’s only saving grace, playing a very believable attorney struggling with her own personal and professional demons. However, this would not be hard to achieve as every other character is played like a two dimensional cut from a tourism Australia commercial.

While it is good to see Australian filmmakers attempting more creative and international projects, 33 Postcards fails to do so in a realistic and engaging manner. This was a film that could have provided a lot of insight into an area of great local and international interest but fails to provide the audience with anything original to be interested in. At the end of this film the audience is left feeling like they have watched a rather long soap opera, whose clichéd characters and events were sent directly from Summer Bay.

Well the Sydney Film Festival has officially begun for 2011 and has provided a rather mixed bag of films from all around the world, some of which I have had the pleasure (and displeasure) of seeing over the past five days. However, it all started under rather cold circumstances last Wednesday night at the State Theatre, in the heart of Sydney’s CBD.

Below I have attached the YouTube video that I made for the UTS Vertigo website from footage that Carla Efstratiou (Vertigo editor) and myself filmed from the red carpet. Australia’s finest talents from both the screen and (mainly) television made there way into the State Theatre, on this exceptionally cold evening, for the Australian premiere of Joe Wright’s new film Hanna (2011), staring Eric Bane, Saoirse Ronan and Cate Blanchett. We were lucky enough to catch some of the night’s big stars including Miss Blanchett (from a great distance), Academy Award Winner Jane Campion, Sigrid Thornton and the cast of Showcase’s hit Australian miniseries Cloud Street. While the carpet was an interesting experience, we were unfortunately not able to see the film (which from early and international reviews is said to be a well construct film from a rather period-piece conservative director). However, I have made my way to a number of recent media screenings since the festivals commencement and have found myself walking away, both times, feeling very different emotions.

On Thursday (9/6/2011) I was lucky enough to be at the world premiere of the first Chinese/NSW feature film collaboration 33 Postcards (2011), starring Guy Pearce, Claudia Karvan, Lincoln Lewis and Chinese newcomer Zhu Lin. For a film I was very excited about, I walked away feeling incredibly embarrassed and angry at the type/quality of films Australia is distributing around the world. As you will read in my upcoming review, this is not a film I would recommend to anyone and I am deeply disappointed that such a creative and original premise could be so poorly handled and acted by over using cliche characters and soap opera-esque events. This was not the good start I wanted for my festival viewing season.

However, last night’s screening of Jodi Foster’s new movie The Beaver (2011), starring Mel Gibson (in a return to form performance), Jennifer Lawrence and Foster herself, has restored my faith in this year’s offerings. This was a film I loved! While not perfect it left me profoundly emotional and it was a journey that I was really glad to have taken. The cast were superb, especially Gibson who gave so much depth and credibility to a very troubled character. A top notch film and a definite must see for 2011 (Review to come as well).

But there is still so much more to see over the next week, starting with tomorrow’s documentary screening of Project Nim (2011), from the Academy Award winning team behind Man On Wire (2008), and Terrence Mallick’s Palm d’Or winner Tree of Life (2011) on Tuesday night. So stay tuned as I bring the latest news, reviews and footage from all (that I can get) of this year’s Sydney Film Festival.

Sydney Film Festival 2011 – I’m there!

I must start by apologising for my lack of posts these past couple of weeks. To be an active blogger you need to manage your time A LOT better and, to be honest, uni has consumed me more than I would like to admit. However, I write today with exciting news about this years Sydney Film Festival, running from June 8-19.

At 3.39pm (I was really excited as you can tell) I received an email from the Lantern Group, the publicity and events company behind the SSF2011, informing me that I had been given media accreditation for this years festival! With a lot of assistance from my amazing friends at UTS’ Vertigo Magazine (who I will be covering the event for), I will be able to attend the event along with a long list of other important entertainment and film journalists. However, what Vertigo cannot publish on their website or in their sixth issue, I will publish up here on my gateway to the ever expanding internet film community. So hopefully you will get an in depth and interesting coverage of the event from a first time attendee.

Since I was sent that golden ticket of a PDF yesterday afternoon I cannot stop thinking about what I want and NEED to see. There are so many incredible films on offer all across Sydney, and I know I won’t get to view them all. But I have compiled a small(ish) list of the films that I have ear marked as essential. Check them out below.

While I am lucky enough to be going through the Vertigo magazine, I know I would have still gone regardless. So I encourage everyone to get out and enjoy, support and embrace  Sydney’s tribute to some of the best international and local films for 2011. This year is not to be missed! Check out the event coverage at www.sff.org.au   and start planning out your weeks now, I know I am!

33 Post Cards (Australia)

This feels like a great heart-warming Australian story, a nice alternative to the gangland and serial killer films that have become synonymous with our industry. Starring Guy Pierce, Claudia Karvan and Lincoln Lewis, this film follows the story of a 16 year old Chinese orphan who on, coming to Australia, seeks out her pen pal and sponsor (Pierce) and the perfect family he has told her all about.

Also on a personal note, one of this films producers (Penny Carl-Nelson) was a family friend who I only remember from when I was 6 or 7 years old. I had no idea she was heavily involved in the industry and it will be great to see her work on display, with such a distinguished cast!

Sessions: 8.30pm 9th June, Dendy Opera Quay

Beginners (USA) 

Starring Ewan McGregor, Christopher Plummer and Melaine Laurent, Beginners is a film I am excited about for a number of reasons! It will be the closing night film (so I will even have to pay and I still don’t care) and it follows the lives of a father (Plummer) and son (McGregor) as they start living their lives again after the death of their beloved mother/wife. Ever since The Last Station (2009) I have been in awe of Plummer, so seeing him billeted here is a major draw card. Also Laurent is a major up and coming French actress in the English speaking market, you may remember her from Inglorious Basterds (2009). And any story about life and its meanings etc etc I am a sucker for. I can’t wait for this one!

Sessions: 7.30pm 19th June, State Theatre

Martha Marcy May Marlene (USA)

When I first saw the trailer for Martha Marcy May Marlene (2011), my first thoughts were of last years critically acclaimed and Academy Award nominated Winter’s Bone (2010). Both films are and look gritty, both were critically acclaimed at the Sundance film festival, both have John Hawkes and both consist of strong lead female characters. While Winter’s Bone had a relatively unknown Jennifer Lawrence, MMMM has a young actress who comes from the very famous Oslen family (Mary Kate and Ashley) but has decided to distinguish herself as a powerful (and talented) actress. Elizabeth Olsen stars as a young girl who, following her escape from a religious cult led by a charismatic leader (Hawkes), tries to reconnect with reality while learning to understand the events that brought her back to her sister and brother-in-law (Sarah Paulson and Hugh Dancy). I think this could be an Oscar contender for 2012 so I won’t be missing this one!

Session: 9.00pm 10th June, Event Cinemas 9

The Tree of Life (USA)

I don’t think much needs to be said about this film which took Terrence Mallick over 40 years to actually make. Reviews out of Cannes have been mixed but everyone has agreed this film is a masterpiece of visionary pleasures, plus Pitt is said to be sensational. I will be (fingers crossed) at the State Theatre for this one!

Session: 6.30pm 14th June, State Theatre

Win Win (USA)

Paul Giamatti and Amy Ryan lead this indie film, which has elements of Little Miss Sunshine (2006), Juno (2007) and Up in the Air (2009) all meshed into one. Paul Giamatti plays an attorney trying to embezzle  one of his elderly clients by sending him to a nursing home. However, things become difficult when the client’s runaway grandson turns up looking for a place to stay. Ryan has been receiving rave reviews for her performance as Giamatti’s wife and motherly figure (you can see some her performance on YouTube). The trailer looks like the perfect mix of dry humour and heartfelt three dimensional characters. I’m hooked already.

Session: 9.30pm 14th June, State Theatre

Life in a Day (UK)

Kevin Macdonald (Last King of Scotland), the Scott brothers (Ridley and Tony) and YouTube where very ambitious when embarking on this documentary project together. They encouraged people from all over the world to film their life in one day on the exact same day – the 24th June 2010. All films were upload onto YouTube and then compiled together by Macdonald. This will be interesting to see and its reception is still relatively unknown. I’m intrigued by what people could have captured and uploaded onto YouTube in just one day. This could be complete international gold!

Session: 8.45pm 11th June, Event Cinemas

“Incendies” provides a masterful lesson in the power of the truth

Director: Denis Villeneuve

Cast: Lubna Azabal, Melissa Desormeaux-Poulin, Maxim Gaudette, Remy Girard

Release Date: April 21, 2011

In our day to day lives we make a number of preconceptions about the people around us. We think we know everything about who a person is and why they are that way. But can we ever truly understand another person until we see what they see, until we feel exactly how they feel?

That is the powerful question posed by acclaimed Canadian French director and screenwriter, Denis Villeneuve, in his politically and emotionally charged film, Incendies.

Beginning in Quebec, French speaking Canada, the film follows twins Jeanne and Simon Marwan (Mélissa Désormeaux-Poulin and Maxim Gaudette) who, on the death of their mother Nawal Marwan (Lubna Azabal), receive two letters addressed to their assumed dead father and unknown brother. Under their mother’s will no proper burial can take place until both letters are delivered and her final wish is completed. To honour Nawal, the twins must venture into the heart of their mother’s mysterious past in the religiously torn Middle East of the 1970s, learning that sometimes what we think we know is never completely right.

Adapted from Wajdi Mouawad’s play, of the same name, Incendies, this is not a film for the easily skirmish as the major themes are occasionally overly violent and disturbing. But Villeneuve’s film is utterly compelling, keeping the mystery alive and beating up until the very last scene. His use of Nawal’s story, running parallel to the twins search for answers, provides some of most intriguing scenes, exploring the historical brutality that shaped the Christian/Islamic conflict of 1970s and torn the Middle Eastern community apart.

With difficult material to cover the cast are brilliant, bringing their own unique talents to an array of multilayered characters. Azabal is flawless in her performance as Nawal, successfully balancing her character’s inner struggles with her stoic facade, shaped through years of religious violence and hatred.

While feeling at times a little slow and confusing, especially in relation to the films locations, the deeper meaning at the heart of this film is never lost. Incendies captures the true social impact of religious conflicts and their continual affect on the lives and identities of those who were touched by them. By reversing the audiences preconceived ideas about the Middle East and its history, Incendies illustrates how little we really know about the world and the people who surround us.

This review will also be published in the fourth issue of Vertigo (UTS’ student) magazine, out very soon! Keep an eye out for it.