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Entries in melbourne (3)

Thursday
Dec222016

TWELVE DAYS OF CINE-MAS: FOUR FLEDGLING FESTIVALS

TWELVE DAYS OF CINE-MAS
A traditional festive countdown, reflecting upon my 2016 movie-watching moments...

FOUR FLEDGLING FESTIVALS
There can be fewer more arduous undertakings than staging a start-up film festival. In 2016, four rookie events surfaced in Australia that proved that determination, free-thinking and a willingness to place faith in an equally passionate support network meant that the uphill slog that is launching a film festival is not only possible, but can yield results of a global standard…

WINDA FILM FESTIVAL, November 10-13; various venues, Sydney, New South Wales. OFFICIAL WEBSITE
‘Winda’ means ‘star’ in Gumbaynggirr, one of the indigenous languages of Australia’s north-eastern seaboard. It proved a particularly ideal name for this new film event, a celebration of native cultures from across the globe that unites the aims of The Wurhu Daruy Foundation, New Horizon Films and Screen Australia with that of the imagineNATIVE Media + Arts Festival, the world’s largest presenter of indigenous screen content. “These films shine a light on our shared celebrations, struggles and stories, siving us insight and connection to the universal storylines of indigenous nations,” said Pauline Clague, WINDA Artistic Director. Opening with Lee Tamahori’s New Zealand hit, Mahana, the program embraced narratives from such nations as Russia (Dmitry Davidov’s Bonfire); Finland (Suvi West’s Spaarrooabban); Canada (Adam Gernet Jones’ Fire Song); Australia (Ivan Sen’s Goldstone) and Western Samoa (Stallone Vaiaoga-Ioasa’s Three Wise Cousins). New tech enriched ancient storytelling with the Virtual Reality sidebar, which featured Lynette Wallworth’s Martu tribe story, Collisions, and Ben Smith’s Yolngu culture celebration, Welcome to Garma.

MELBOURNE DOCUMENTARY FILM FESTIVAL, July 9-11, Howler Art Space, Brunswick, Victoria. OFFICIAL WEBSITE
When SCREEN-SPACE spoke to Festival Director Lynden Stone in June, he spoke of the very clear direction he had for his new venture. “We want to present a socially liberal film festival comprised of a diverse and challenging slate that supports and promotes women, Aboriginal, Asian and LGBTI documentaries,” he said. Which is not to suggest this was some hand-wringing, issues-based sobfest. “Whilst I love ‘showcase’ documentary film festivals, I find their schedules and programming to be incredibly serious,” Stone said. “We wanted to look at creating a fun and exciting documentary film festival that was playful with documentary genre.” Hence such crowdpleasers as Jeff Hann’s Coffee Man, Gavin Bond’s Todd Who? and Robin Vogel’s Churchroad. The vast list of competitive honours featured Aaron Beibart’s A Billion Lives, Em Baker’s Spoke, Marketa Tomanova’s Andre Villers – A Lifetime in Images and Giovanni Coda’s Bullied to Death.

WOLLONGONG FILM FESTIVAL, Saturday October 29; Project Contemporary Art Space, Keira St. Wollongong, New South Wales. OFFICIAL WEBSITE.
Festival director Gia Frino (pictured, right) launched the Wollongong Film Festival with a focus on the contributions of women to the art of filmmaking. Submissions were only accepted if women were credited with one of the six key roles during production. “I am a pretty staunch feminist,” she told the local press as part of the event’s launch, “(and) every year I try to empower women in some shape or form.” The festival donated all proceeds to the One Girl initiative, a movement that is bringing education and hope to impoverished African women. “It’s not about ‘here have some money’,” said Frino, who serves as an ambassador for the charity, “it’s actually about giving the girls the power to change their lives.” The international film community responded, with submissions from as far afield as Brazil, Portugal, Italy, Spain, the Phillippines and New Zealand, as well as homegrown talent. Honours went to Lena Kralikova Hashimoto for her student short, Atomka Genpatsu (Japan); Samain Husseinpour for the short film, Fish (Iran); Adnan Zandi for Butterflies (Iran), in the Most Empowering Feature category; Freyja Benjamin, producer and star of the Australian short Strangers in The Night, as Most Empowering Female; and, Jon Bling’s locally made Never Forget, for Best Feature. 

NOOSA INTERNATIONAL FILM FESTIVAL, November 3-6; various venues, Noosa, Queensland. OFFICIAL WEBSITE.
Organisers decided make a bold statement with the Noosa International Film Festival, launching the kind of ambitious, extensive program one rarely sees at a start-up event. As the festival guide proudly declares, ’140 Films 4 Days 4 Towns 5 Venues.’ Festival director and President of the Noosa Chamber of Commerce, Peter Chenoweth, stated that the beach resort town was ideal for a celebration of global film culture. “We’re blessed in that Noosa is a melting pot of skillsets, from financial wizards to film buffs to people with PR and promotional skills,” he told local media. “Add to that the encouragement and help we’re receiving from a whole raft of people within the film industry, and we already have the makings of a very successful and prestigious event.” The big ticket items were ‘Inside Cinema’, a presentation on the art and craft of cinematography by Australian great John Seale; the Opening Night screening of Bernard Bellefroid’s Melody, starring Rachel Blake; and, a rare showing of the German Expressionism silent masterpiece, The Cabinet of Dr Caligari. The short film competitive strand and the day-long ‘Ecoflicks’ environmental-themed sessions ensured local talent and issues were also addressed.

 

Monday
Nov282016

CANNIBALS, CADAVERS AND CHRISTMAS KILLERS IN MONSTER FEST WINNERS

The latest ‘New Wave’ of international genre talent was singled out for 2016 honours at the Melbourne horror celebration, Monster Fest, held at the Lido Cinema in upscale suburban Hawthorn last night. Attended by fans and filmmakers alike, the tone for the occasionally raucous event was set by evening sessions of Paul Schrader’s unhinged crime melodrama Dog Eat Dog and the highly anticipated Closing Night feature, Jim Hosking’s stomach-churner The Greasy Strangler.

                             Pictured, above; Olivia DeJonge and Levi Miller in Safe Neighborhood

The festival’s coveted ‘Golden Monster’ Award went to Raw, Julia Ducournau’s teen cannibal drama that wowed critics and audiences at Cannes, where it won the FIPRESCI Critics Prize, before earning similar kudos at festivals across the globe. A guest of Monster Fest since her film opened the event last Thursday, Ducournau was present to accept the award, along with the Best Effects nod, a hotly-contested category that saw Ben Wheatley’s squib-epic Free Fire and Dain Said’s Malaysian vampire folk-lore tale, Interchange, challenge for the prize.

Best International Feature was awarded to Andre Overdahl’s terrifying morgue-set nightmare, The Autopsy of Jane Doe, starring Brian Cox and Emile Hirsch (pictured, right). The Norwegian filmmaker’s follow-up to his cult hit Troll Hunter was shortlisted in several categories, but a particularly competitive field kept the trophy tally to one.

It was a unanimous jury decision to award the Best Australian Feature to Chris Peckover’s Christmas season splatterfest, Safe Neighbourhood. The Australian-shot, US-set black comedy also earned budding teen star Levi Miller (Pan; Red Dog True Blue) the Best Actor nod, for his wildly inventive, against-type portrayal of a good kid turned horribly bad, opposite Ed Oxenbould and the equally impressive Olivia DeJonge. The Best Actress honour was awarded to Mackenzie Davis for her spin on the sociopathic ‘single white female’-type in Sophia Takal’s Always Shine.

Polish director Bartosz M Kowalski earned Best Director for his scorching portrait of alienated teen psychopathology, Playground; the spiritually-infused ‘black magic’ thriller A Dark Song, from Irish feature debutant Liam Gavin, earned dual mentions for Cinematography (Cathal Watters) and Score (Ray Harman). At the behest of the festival jurors, a Best Documentary slot was created to honour Sympathy For The Devil: The True Story of the Process Church of The Final Judgement, director Neil Edwards’ study of the British occult movement f the 1960’s. A humble and truly surprised Edwards was on hand to acknowledge the honour.

Jury members also singled out for ‘Special Mention’ the cast and crew of Rohit Mittal’s Autohead, an Indian found-footage film that follows a repressed rickshaw driver’s descent into homicidal madness. The Monster Innovation Award went to Alice Lowe (pictured, right), the star and director of Prevenge, a ‘pregnant femme-fatale’ satire that the British actress conceived and shot while in the late stages of her own pregnancy. Festival director Kier-la Janisse had the honour of bestowing the Audience Award upon local-lad Addison Heath’s grindhouse shocker, Mondo Yakuza. 

Saturday
Jul232016

FITZROY'S EPHEMERA FAIR A FILM FAN'S FEVER DREAM

Diarised months ago by any serious collector of cinema ephemera was midday, August 6. That is when the latest incarnation of the Fitzroy Film Fair opens for business and pleasure. The movie-themed bazaar that springs to life periodically in Melbourne’s inner–city mecca for all things cool is nestled into the confines of The LuWow, the South’s most swingin’ Tiki-themed enclave. The traditionally vibrant get-together promises to be the celebration of movie pop-culture fandom that founder Stuart Simpson (pictured, below; far left, at a recent FFF) had always hoped it would be. “It’s a relaxed social event where you can come and pray at the alter of movie madness,” he tells SCREEN-SPACE…

“I loved going to flea markets but always ended up at the film/tv/comic sections,” says Simpson, one of Australia’s leading underground auteurs who, as principal at Lost Art Films, directed the cult hits The Demons Among Us (2006), El Monstro Del Mar (2010) and Chocolate Strawberry Vanilla (2014). “I've always thought about how amazing it would be if the whole place was dedicated to the love of movies.” When approached by The LuWow founder Josh Collins with a concept for a film-themed event, Simpson envisioned a marketplace where true film buffs could indulge their passions with like-minded fans.

“I know there are giant conventions and all that, but (I wanted) something that was more about the old and forgotten stuff, the gems of yesteryear, those hard-to-find rarities,” he says. “The Luwow is such a perfect place for it, too; it even looks like a movie set. It seemed like a no-brainer to me.” The first event was held in September 2015 and proved so successful, Simpson moved quickly to ensure collectors and buffs never had to wait long for the party atmosphere to return; the second coming of the Fair was in December of last year, then again in April 2016. (Picture, right; actor Glenn Maynard manning his VHS-themed table).

The Fitzroy Film Fair ‘selling floor’ is a literal dream-come-true for the movie nerd, where the army of stallholders offer a myriad of collectible delights. The current craze for classic VHS packaging, aka ‘slicks’, and hard-to-find titles on the antiquated format is well catered for, as are those offloading newer libraries that have outstayed their welcome. “Variety is the key,” Simpson says, “I like to keep it open to all kinds of vendors of all sorts of quality. So you will find the old, dusty VHS right next to brand new Blu-ray.” Some of the most in-demand items are the vintage pop culture items, such as toys, promotional material and literature. “We've got something for everyone. One thing I do request is that prices are kept fairly low, (as) I want punters to feel like they are getting a bargain.

The celebratory mood extends beyond the buying and selling of silver screen artefacts. The December event hosted legendary B-movie goddess Kitten Natividad, star of the Russ Meyer classic Up!; in April, the Fair headlined a 16mm screening of the anarchic 80s nuclear-punk shocker, Smoke ‘Em if You Got ‘Em.

Scheduled for the August Fair are three sidebar events that speak directly to the B-movie thrillseeker - live special effects makeup demonstrations from the students of the Australian Academy Cinemagraphic Makeup (pictured, right; work from the AACM student body); the launch of a new horror-themed T-shirt label called Squirm, the latest venture from The Search for Weng Weng director Andrew Leavold; and, a gallery of works from Brisbane artist, Jesse Breckon-Thomas. “He paints reproductions of Italian Giallo horror/pulp film poster art with his own unique stamp,” says Simpson, who promises the artist’s originals will become must-owns for lovers of Euro horror.

Adding to the unique ambience afforded by The LuWow’s vibrant décor will be soundscape and soundtrack selections piped into the two rooms that host the Fitzroy Film Fair plus an eclectic series of 16mm film projections, courtesy of Perth’s Revelation Film Festival director, Richard Sowada. For Stuart Simpson, the end result is enticingly simple. “To (create the) perfect place to meet, buy, swap, and sell with other collectors and film makers,” he says, “and have a drink or two as well.”