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Wednesday
Sep112013

TIFF AUDIENCES STILL WARM TO THE BIG CHILL

There is a bittersweet irony that the Toronto theatre that hosted the premiere of The Big Chill three decades ago has been converted into a Pottery Barn homewares store. But the demise of an old movie palace to make way for a soulless franchise can’t dilute the love that the town’s film festival goers have for director Lawrence Kasdan’s tale of idealism, friendship and change. Many of those original audience members turned out for a 30th anniversary screening and cast-and-crew Q&A session earlier this week.

The Toronto International Film Festival (TIFF), then known as ‘The Festival of Festivals’, was seven years old when it hosted the World Premiere of The Big Chill. TIFF was a well-liked, generally well-attended event that was on the cusp of being one of the world’s leading festivals. Similarly, the film’s cast were respected actors but not marquee draws and director Kasdan had scripts for Raiders of the Lost Ark and The Empire Strikes Back to his name but only one directorial effort, the decidedly unsentimental (though critically-acclaimed) Body Heat. There was a sense of synergism about the pairing.  

““I was at that screening as a member of the public, so I do remember what it felt like,” says Piers Handling, Director and CEO of TIFF (pictured, right). “In addition to helping its stars break through and its influence on cinema generally, The Big Chill represents a landmark in TIFF’s own history. It showcased the Festival’s ability to seek out and attract up-and-coming contemporary classics and helped the Festival move to the forefront of the international landscape.”

Attendees at the premiere went wild for the tale of baby-boomer pals gathering at the funeral of the most idealistic member of their college clique, who has committed suicide (played by Kevin Costner, his flashback scenes entirely excised from the final cut). The chemistry between cast members, amongst them William Hurt, Kevin Kline, Glenn Close, Meg Tilly, Tom Berenger, Mary Kay Place, Jobeth Williams and a scene-stealing Jeff Goldblum, was entirely infectious; the film would win the People’s Choice Award at TIFF that year.

"The film had something to do with friendship,” Kasdan told reporters on the red carpet ahead of the September 5 retrospective screening. “It's not a particularly rose-colored version of it; it's what really happens. People rub each other wrong, but the friendship survives and helps you deal with the world." Kasdan and screenwriter Barbara Benedek spent a great deal of time fine-tuning the personalities of their characters. “"We thought that maybe if we were specific enough there'd be some universality", he said. "The characters came from studies of people we knew. These were real people on the screen".

The launch provided by the Toronto’s enthusiastic audience fuelled the film’s marketing and subsequent box office success, almost in spite of studio ambivalence. Kasdan (pictured, left; l-r, Berenger, the director, Goldblum, Kline and Hurt) recalls, “[The studio] said, 'How can there be seven protagonists? It's impossible’. The subject matter also wasn't exactly in their wheelhouse. The head of Columbia Pictures said to me, after the first test screening, 'I didn't know it was a comedy.'" On the back of three Oscar nominations (Picture, Original Screenplay and Supporting Actress for Glenn Close) and a blockbuster soundtrack of classic 60’s hits, The Big Chill took US$56.4million domestically (a staggering US$143.4million in 2013 currency).

As was to be expected, the 30th anniversary screening took on a celebratory mood. Audience participation was encouraged, with spontaneous dancing breaking out in the aisles and classic quotes (“It’s just good investigative journalism”) echoed verbatim. Kasdan, Benedek and producers Michael Shamberg and Marcia Nasatir accompanied the cast (excluding Goldblum and Hurt, through work commitments, and the late Dan Galloway) on the Prince of Wales Theatre stage following the screening (the film restored to 4k clarity by the studio archivists). Variety’s senior film critic, Scott Foundas, had the enviable task of moderating.

“This movie's been available in your living room for 30 years, and yet you all came out tonight. I really appreciate it," Kasdan told the sold-out audience, adding for comic effect, "You'll have no trouble recognizing the cast. They haven't changed a bit.” (Pictured, right: l-r, Gleen Close, Mary Kay Place, Kevin Kline, Meg Tilly, Tom Berenger and Jobeth Williams)

"It was an extraordinary experience to have challenging work that also made you laugh,” said Mary Kay Place, (who played the maternal Meg) “and then to have as much fun during the day working as you did at night dancing and playing charades and singing Broadway show tunes at a piano at Jeff's and Kevin's." Tom Berenger, cast as TV actor Sam Weber, recalls his stunt-leap into the front seat of a convertible as pretty tame action-hero stuff. “Anybody could have done it,” he says, “that was a pretty low car.”

Canadian native Meg Tilly, so memorable as the beatific Chloe (pictured, right) and who had all but retired from acting, perhaps best sums up the love shared by both the film and the festival audience. “It was one of the cosiest sets I’ve been on,” she said. “We all rented condos on the beach and Friday nights we’d get together and have parties and dancing and food.” The reuniting of the cast was a special moment for the actress. "I'm so happy they had the idea to bring us all together to do this," she said. "It's such a gift, I get to see everybody again and I haven't seen everybody in so long. To see their happy smiling faces, that was such a blessing. I'm really grateful."

Thursday
Aug292013

SORCERER CASTS SPELL OVER VENICE

US exhibitors had no faith in a campy space opera from an untested director, so they booked the gritty action epic Sorcerer into their theatres a week after Star Wars launched. Ten days later, William Friedkin’s expensive reworking of Henri-Georges Clouzot’s The Wages of Fear had vanished and a new Hollywood mentality had been born. With a remastered version of his film debuting at the Venice Film Festival this week, the director of The French Connection and The Exorcist has been very vocal about the monumental flop that he considers his crowning achievement.

The Venice Film Festival has been kind to William Friedkin (pictured, above), the 78 year-old Chicago native who won the Best Director Oscar for The French Connection (1971) then would make the film many consider the greatest horror movie of all time, The Exorcist (1973). Most recently, he secured the Italian festival’s Best Directing honours for his Matthew McConnaughey vehicle, Killing Joe (2011).

The acclaim reaches its zenith in 2013, with the Festival organisers voting to award Friedkin the prestigious Golden Lion Lifetime Achievement award. Alberto Barbera (pictured, left), the Festival’s Director, stated in his submission to the Biennale Board of Directors, “William Friedkin has contributed in a prominent way – the revolutionary impact of which has not always been recognized – to the profound renewal of American cinema regarded as ‘the New Hollywood’.”

“[The award] was very unexpected, I must say, and I'll tell you what makes it even more so," Friedkin told the Los Angeles Times earlier this week. "When Venice started the lifetime achievement award in 1970, the first guy to win it was Orson Welles, whose Citizen Kane made me want to direct movies. And when the festival started up again in the late 1940s after World War II, the first guy to win the Golden Lion was Henri-Georges Clouzot for Wages of Fear. It's all kind of a circle and I'm kind of overwhelmed to get the award."

The significance of French auteur Clouzot’s masterpiece is profound. To accompany his honour, Friedkin’s all-but-forgotten passion project, Sorcerer (1977), the English/Spanish remake of Clouzot’s influential work, will be relaunched in a fully-restored version in Venice. In technical speak, the 4k film resolution scan of the original 35mm camera negative will ensure the film is viewed with greater clarity than its original release print.

The initial failure of Friedkin’s opus hurt everybody. By mid-1970’s standards, its US$22million budget was exorbitant, but Friedkin had delivered two ground-breaking blockbusters and could write his own ticket. The film’s US$12million box-office take proved crippling; the slow-expansion release pattern that distributor 20th Century Fox had planned was shelved when George Lucas’ Star Wars commanded every screen available. “The zeitgeist had changed by the time [Sorcerer] came out," Friedkin told The Wrap.com earlier this year.

Star Roy Scheider (pictured, right) bounced back by reprising the role of Chief Brody in Jaws 2 and getting Oscar-nominated for All That Jazz in 1979, but it was tougher for Friedkin. His controversial procedural Cruising, with Al Pacino as an undercover cop in the S&M gay nightclub scene, earned more headlines than dollars. Everything he lensed for the next decade (Deal of the Century, 1983; To Live and Die in LA, 1985; The Guardian, 1990; Blue Chips, 1994; Jade, 1995) tanked.

He recently confided to the Venice Film Festival website, “I consider Sorcerer my most personal film and the most difficult to achieve. To realize that it’s going to have a new life in cinema is something for which I’m deeply grateful. To have its world premiere at the Venice Festival is something I look forward to with great joy. It is truly a Lazarus moment.”

Sorcerer (so named after the truck that is central to film’s narrative journey) will move from its Venice berth into an arthouse release pattern before a new life in its restored form on Blu-ray. The rebirth of his most cherished project could not come sooner for the ageing auteur. “Sorcerer is the film that came closest to my vision of what I wanted to make,” he told the LA Times. “I have a great fondness for Sorcerer, more than any other film. It's the film I hope to be remembered for."

Thursday
Aug152013

THE FEVER DREAM THAT IS SHARKNADO

Mankind’s first sharks-in-a-tornado film, Sharknado, has a confirmed Australian cinema release. An internet sensation reflecting the hysteria that the Snakes on a Plane marketing team only ever dreamt of, Anthony C Ferrante’s basic-cable network feature debut (!) has entered the pop-culture subconscious. But, as reflected upon by SCREEN-SPACE below (yes, we sat through its recent pay-TV premiere so that you didn’t have to)….well, it’s a little bit silly….

The Opening Bit…
The ne’er-do-well fishing boat captain Carlos Santiago (Israel Saez de Miguel), like 'Quint' from Jaws crossed with Ledger's Joker (how does such a murderously ruthless young man take command of a commercial fishing vessel?) faces off against a suit-wearing Asian yuppie called Palmer (Marcus Choi) over the boats shark-fin haul. Shouldn’t the details of their deal have been finalised back on shore? What the scene does do is set up a film that addresses the brutal, shameless act of commercial finning. I look forward to that film….

Jaason Simmons…
The man of a thousand vowels (pictured, right) went on a spiritual journey after he left his co-starring role in the phenomenon that was Baywatch. He lived a rural existence far from Hollywood which helped him with personal issues (he came out as proudly gay in 2008) and subsequent professional growth (he has starred on London’s West End and in an Australian play by respected actor/writer, Jeremy Sims). With Sharknado, he has come full circle; he plays one of the most grotesquely blokish Australian surfie stereotypes in a performance that is excrutiating to watch yet deceptively awesome.

Weather and the Physics of Nature…
As the titular front bears down upon the Californian coastline, the intermingling of stock footage and lead actors is bewildering. Swirling black clouds and surging waves cross-cut between blue skies and a gentle rolling surf. Mid-film, the hillside home of leading lady Tara Reid (more on her later) is flooded, the water failing to drain away resulting in a bloody shark pool of gravity-defying sea-water that blocks the heroes escape.

The ‘Fish Out of Water’ Conundrum…
Sharks need water to breath. Sharks in tornadoes are caught in a maelstrom of oxygen and its various gaseous elements. These sharks would not fly around for an hour or so and then eat people. These sharks would die.

Helicopters and Tornadoes…
Tornado strength winds rotate at between 100 mph and 300 mph. In a key climatic moment, heroes Cassie Scerbo (pictured, left) and Chuck Hittinger pilot a two-person helicopter into the outer rim of the sharknado to release an explosive device that will dissipate the gale force winds (a different but equally contentious field of science). Spoiler alert – they (mostly) survive; super-spoiler alert – this action is, of course, impossible.

Old People Swimming…
Our heroes flee to a retirement village situated in the hills above Los Angeles. Here, despite the Downtown death and destruction that is unfolding in full view, the residents are taking a soothing dip in the village pool. It takes the thrashing of a group of sharks that have landed in the pool due to the storm to get the final two bathers out. Old people are idiots.

That Kiss…
Having extricated himself from the acidic stomach of a great white shark, uber-hero Fin (Ian Ziering), splattered head-to-toe in shark goo, plants a big one on his ex, April (Tara Reid; more on her later). The actress does not even wait for the director to yell cut before she pulls away, wipes her mouth and laughs.

Tara Reid…
Tara Reid (pictured, below).

The Nod to Classic European Cinema…
As the action fades to black, a single-word title card fades in – ‘Fin’. It is the hero’s name, of course, but its origins stem from the cinema of Ingmar Bergman and Jean-Luc Godard. As of 2013, it is now also seen in Sharknado.

(Editor’s note – Credit where credit is due. Ian Ziering, who appears to be fully aware of the legacy he is creating, gives all of himself in the lead role and should be credited, along with director Anthony C Ferrante’s grasp of tongue-in-cheek terror, for helping to craft a modern bad movie classic. I really enjoyed this film).

Wednesday
Aug072013

WHATEVER HAPPENED TO...?: HOLLYWOOD'S MISSING MOVIES

On October 11, 2013, Jonathan Levine’s moody teen horror film All The Boys Love Mandy Lane will premiere in US cinemas – seven years after it was first screened. Starring Amber Heard (pictured, below), the film earned late-night slots and solid reviews at leading festivals such as South by SouthWest, Sitges, Toronto and Frightfest, before becoming mired in distributor chaos. It was one of the most well-known of the many unreleased films that clog studio vaults, bolster lawyer bank accounts and frustrate the talent involved. With …Mandy Lane finally finding multiplex love, SCREEN-SPACE looks at four other unreleased film projects now vying for her crown…

THE KNIGHTS OF BADASSDOM
At Comic-Con 2011, nerd-buzz soared when director Joe Lynch (Wrong Turn 2: Dead End) introduced footage from his LARP-inspired fantasy comedy. Featuring a cast of geek-friendly names (Game of Thrones’ Peter Dinklage, True Blood’s Ryan Kwanten, Community’s Danny Pudi, Firefly’s Summer Glau) and some top-tier effects work, the independent film was being produced North by Northwest Pictures, though no distribution pact was in place. The Knights of Badassdom fell of everyone’s radar until March 2013, when a principal at an operation called IndieVest by the name of Wade Bradley announced that a recut version would screen in Hollywood for potential investors. Lynch distanced himself from Bradley’s version which, reported website Dread Central, allegedly ran 70 minutes and differed greatly from the 2011 version. Adding further insult, it was revealed that the Financial Industry Regulatory Authority was pursuing disciplinary action against Bradley for monies sought to help finance post-production on …Badassdom, funds that were never presented to the producers or Lynch.
WILL WE EVER SEE IT? Appears unlikely that Joe Lynch’s version that wowed Comic-Con audiences will ever be re-assembled; Wade Bradley has stated the film will get a theatrical run, though no release date has been confirmed.

5-25-77
It was late in 2006 when filmmaker Patrick Read Johnson, with the cult item Spaced Invaders and the Home Alone clone Baby’s Day Out to his credit, grasped the opportunity to make his pet project - an autobiographical tale of a mid-West teenager whose life is changed when he attends the very first screening of Star Wars (the project’s numerical title reflects the day George Lucas’ space saga ‘went wide’). As shooting neared completion, and with the weight of the William Morris Agency and uber-producer Cassian Elwes attached, the global economy collapsed and hundreds of ‘little films’ like 5-25-77 were jettisoned. In the five years since that fateful time, Johnson has been striving to get his lovechild into the marketplace by any means necessary. He recently travelled the length and breadth of the US, screening the work-in-progress as part of his ‘Hearts of Dorkness’ tour (accompanied by a documentary crew); Toronto International Film Festival 2012 welcomed the director and his film into their ‘Next Wave’ strand.
WILL WE EVER SEE IT? The film has attained its own mythology over the years and a smart indie production/distribution outfit would be wise to play on that; Johnson seems to be in for the long haul.

TEMPTATION:
Back in 2004, before she became Star Trek’s Uhuru or Avatar’s Neytiri, 25 year-old starlet Zoe Saldana was making a name for herself with support roles in Centre Stage, Crossroads and Drumline. This was all set to change when she was cast in the ambitious musical Temptation, a modern rock-opera interpretation of the Faust legend set against the nightclub culture of a new millennium New York City. Nearly a decade before Les Miserables producers boasted of their on-set cast recordings, director Mark Tarlov miked his actors and recorded the entire score live; amongst an ensemble of Broadway veterans, Saldana (pictured, right; with co-star Orfeh) proved a revelation. Said Tarlov, “We set about to create a piece featuring people setting out in life, this age group I'm talking about, all striving and all trying to decide what they want and how to get it.” But the dreams of all involved were soon dashed. Following a single screening at the 2005 New York Musical Festival, Temptation all but vanished, never to see the inside of a theatre or DVD case to this day.
WILL WE EVER SEE IT? No.

SPRING BREAK ’83:
Writer Mars Callahan set out to craft a loving homage to the bawdy teen comedies of the 80’s when he began shooting Spring Break ‘83 (alongside co-director Scott Spiegel) in Louisiana in late 2007. With then-bankable stars Jamie Kennedy (as Ballzack) and John Goodman (as Dick Bender) toplining, Callahan and Spielgel filled their cast with such forgotten 80s icons as Lee Majors, Morgan Fairchild, Adrien Zmed, Joe Piscopo, Erik Estrada and MTV V-jay ‘Downtown’ Julie Brown (as well as then It-girl, Aussie bombshell Sophie Monk). But as filming neared completion, Callahan’s production outfit Big Sky Motion Pictures began to bounce payday cheques; cast and crew complained to Union officials who investigated and soon detailed grievances were filed with the courts. Shooting was shut down. Then, in January 2009, Mars Callahan and his Big Sky team hosted a party in Park City, Utah (pictured, below; the events online invitation), as the Sundance Film Festival was in full swing, during which they premiered a teaser trailer for Spring Break ’83.

This led to a schedule of pick-up shots in Los Angeles in March of that year and an online announcement in December which promised that “the directors edit of Spring Break '83 is now locked and the completion of the post production phase is coming soon” and “an official release…is targeted for early Spring 2010.”
WILL WE EVER SEE IT? Not theatrically. If there is a finished product, it will most likely be spruiked in the back rooms of the American Film Market and bundled into a home vid/cable package for unsuspecting international buyers. 

Monday
Jul152013

REVELATIONS 2013 REVIEW: THE WEST FEST'S BEST.

Now in its 16th year, Revelation Perth International Film Festival proved once again that its film selections and panel chats are often not for the faint-hearted.

Distinguishing itself from the festival roster of the eastern capitals with a fearless adherence to edgier fare, the programming division, led by Festival Director Jack Sargeant, demonstrated that it is well and truly in touch with the cutting-edge of international independent film-making and avant-garde creativity.

As the heady celebration winds down, SCREEN-SPACE looks back at the key moments from the last week and a half, hoping that you may draw some sense of what it’s like to experience challenging, often disturbing, but always entertaining film culture in Australia’s most remote capital city.   

THE VISITORS
Multi-media artist Lawrence English (pictured, right) brought his acclaimed vision of an apocalyptic dreamscape to the Buratti Fine Art Gallery in North Fremantle for the final weekend of Revelations. It is an extraordinary blend of sound and light, combining with abstract film content to create a non-linear narrative that draws the viewer hypnotically. Afforded a public space, the collective experience of those that viewed it was spellbinding, confusing and challenging.

A FIELD IN ENGLAND
Already a sensation in the UK, the prolific Ben Wheatley (Kill List; Sightseers) passionately divided audiences with his monochromatic, psychedelic, old-English horror head-scratcher, A Field in England. Filled with sly humour and graphic violence, this brazen and bold (or indulgent and incoherent, if you prefer) low-budget work was England’s first multi-platform day-&-date release, ensuring lots of publicity that a film so determinedly un-commercial may not have otherwise garnered. The Luna Cinema bar was buzzing with debate after this screened.

FESTIVAL GUESTS
The organising committee secured some stellar guests for the 2013 event. Brenna Sanchez and Tom Putnam accompanied their film Burn, which opened the festival; Surkhaab star Barkha Madan, recently ordained as a Buddhist monk; and, Perth-based, Canadian-born filmmaker Lee Chambers. None were more gracious of their time and talent than British actress Alice Krige (Chariots of Fire; Star Trek Nemesis), star of the stunning Jail Caesar!, who accompanied the film’s director Paul Schoolman and spoke at length with local film journalist Travis Johnson in one of the Festival’s most enlightening and enjoyable Q&A sessions.

WHITE REINDEER
From the 11 day screening schedule, it is near impossible to settle on a film that most impacted festival audiences. The Fifth Season and The Deep were stunning visions that played well; Pictures of Superheroes announced Don Swaynos as a talent to watch; titles that had premiered in Australia prior to Perth (The Act of Killing; I Am Divine; Cheap Thrills; A Monster In Paris; The Human Scale) continued their passage of good will. But our ‘Best of the Fest’ was festival attendee Zach Clark’s White Reindeer (pictured, left), a stunning Christmas-themed journey through grief and redemption that proved mesmerising (and, Oz distributors, thoroughly deserving of a wider art-house season).

REVCON ACADEMIC
Revelations introduced this two-day industry panel event, held at the Rydges Hotel in the Perth city centre. Festival guests and leading national and international academics discussed and debated the latest trends in distribution and exhibition, genre depiction, gender representation, new international cinema voices and many other aspects of screen culture. The cosy environment ensured discussion was intimate and frank; expect the seating capacity to be revised up in 2014.

THE LAST DAYS OF JOE BLOW
Jack Sargeant and Richard Wolstencroft are two peas in an alternative universe pod, with a long history as two of Australia’s most vociferous film identities. It is no surprise that Wolstonecroft’s frank porn-industry doco should have its World Premiere at Revelations. A cold, wet Monday night slot kept audience numbers down, but all attendees were riveted by the story of Michael Tierney, aka porn icon Joe Blow; the reception suggests a long life for the film, which was three years in the making. Never a festival to ignore depictions of frank sexuality, also on Revelations roster was the James Franco/Travis Maxwell oddity Interior Leather Bar and Beth B.'s Burlesque documentary Exposed.
(Note - some trailer content NSFW)

GOBLIN PLAY SUSPIRIA
At the height of their shared celebrity, Italian electro-pop outfit Goblin and giallo maestro Dario Argento combined their talents to craft what has become a landmark score for the 1977 horror classic, Suspiria. Revelations scored a major coup when it was announced the band would provide a live soundtrack for screenings of the film. The result? With the film projected in HD in its full aspect ratio, the ageing rockers, under the guidance of keyboardist Claudio Simonetti, proved to be as vital and captivating as they were 36 years ago. (pictured, right: the band visiting Perth Zoo)

SHORTS
Of the 18 short films officially selected, eight were world premieres and seven screened for the first time on Australian soil. Amongst them, exciting new works from local directors Julietta Boscolo (Sam’s Gold), Shaun Burke (Weathered), Markus Hermansen (The Mailman) and Kyle Hedrick (The Boat). The festival’s standing as a global event was evident in the countries represented across the shorts strand – in addition to the local content, productions were selected from USA, UK, China, Denmark, Canada, France and The Russian Federation. The Animation and Experimental short film strands were also sold-out events.

REVEL-8
Traditionally one of the most popular nights at past Revelations, the Revel8 Competition asks filmmakers to craft a 3½ minute in-camera work; composers are given the task of scoring the film without meeting the director; and, audience members vote by cheering the loudest. With the theme this year being ‘Phobia’, there was barely a silent moment during the closing night event. Which is exactly how it should be.

Screen-Space was a guest of the Revelations Perth International Film Festival from July 8 to July 11.