TEN ‘FIRST GLANCE MUST-SEE’ FILMS FROM THE SYDNEY FILM FESTIVAL PROGRAM LAUNCH

With 307 films from 55 countries rostered to unfold from June 5, it would be madness to try to tackle all of the Sydney Film Festival’s program the day it goes go public. Even Festival Director Nashen Moodley, presenting his 8^th program this morning at Sydney’s Town Hall, could only snapshot the mammoth line-up. “This year’s program holds a mirror to titanic shifts culturally and politically,” he said, highlighting qualities certainly on offer amongst the ten films that stuck in our minds after our first glance at the 2019 program. That, and so much more… 

PALM BEACH (pictured, above; l-r, Bryan Brown, Jacqueline McKenzie and Richard E. Grant)
OPENING NIGHT; WED 5 JUN 7.30 PM
Director: Rachel Ward | Screenwriters: Joanna Murray-Smith, Rachel Ward | Cast: Sam Neill, Bryan Brown, Greta Scacchi.
FROM THE PROGRAM: “In Rachel Ward’s funny, uplifting drama/comedy a group of lifelong friends reunite
for a party at Sydney’s Palm Beach; but tension mounts when deep secrets emerge.
With a fantastic cast including Bryan Brown, Sam Neill, Richard E. Grant, Greta Scacchi, Jacqueline McKenzie and Heather Mitchell, Palm Beach is an exuberant and life-affirming celebration of friendship. “
SEE THIS BECAUSE…: You loved The Big Chill.

SLAM
SAT 15 JUN 2.05PM | SUN 16 JUN 4.00 PM | SUN 16 JUN 7.15 PM
Australia, France | 2018 | 115 mins | In English and Arabic with English subtitles | Australian Premiere | Director, Screenwriter: Partho Sen-Gupta | Cast: Adam Bakri, Rachael Blake, Rebecca Breeds
FROM THE PROGRAM: “A young Muslim activist and slam poet goes missing in this tense Sydney-set mystery with a sharp perspective on Islamophobia by Partho Sen-Gupta (Sunrise, SFF 2015).”
SEE THIS BECAUSE…: Partho Sen-Gupta is one of the great unheralded talents of Australian cinema. His incendiary study of intolerance and bigotry will be one of THE hot-button films of 2019.

MONOS
MON 10 JUN 6.20PM | TUE 11 JUN 4.00PM | SAT 15 JUN 6.45PM
Colombia, Argentina, The Netherlands, Germany, Sweden, Uruguay | 2019 | 102 mins | In English and Spanish with English subtitles | Australian Premiere |
Director: Alejandro Landes | Screenwriters: Alejandro Landes, Alexis Dos Santos | Cast: Julianne Nicholson, Moises Arias, Julian Giraldo.
FROM THE PROGRAM: “Alejandro Landes’ incendiary allegory follows child soldiers holding a female doctor hostage in a remote jungle location. A film of lush visuals and raw emotion, Monos adopts the personality of a twisted fairy-tale (commenting) on the dehumanising effect of war and the seemingly endless cycles of violence in many South American nations.”
SEE THIS BECAUSE…: Stunning locations in the service of a film that captures the horrors of close-quarters jungle warfare and psychological torment. Best trailer of the fest, too.

DIVINE LOVE
WED 5 JUN 8.30 PM | THU 13 JUN 6.00 PM  
Brazil, Uruguay, Denmark, Norway, Chile, Sweden 2018 | 100 mins | In Portuguese with English subtitles | Australian Premiere |
Director: Gabriel Mascaro | Screenwriters: Gabriel Mascaro, Rachel Ellis, Esdras Bezerra, Lucas Paraízo | Cast: Dira Paes, Julio Machado, Emílio De Melo
FROM THE PROGRAM: “Religion in Brazil in 2027 is a little strange.
Raves, drive-through churches and group sex sessions are all part and parcel of the evangelical Christian group Divino Amor.
 An unsettling, futuristic look at faith and sexuality, Divine Love is wildly imaginative, visually spectacular and entrancing, with a sharp political edge.
SEE THIS BECAUSE…: Our favourite film of SFF 2018 was Gaspar Noe’s Climax; this looks cut from the same cloth.

HER SMELL
FRI 7 JUN 8.30PM | SUN 9 JUN 6.45PM |
WED 12 JUN 8.05 PM  
USA | 2018 | 135 mins | In English | Australian Premiere | Director, Screenwriter: Alex Ross Perry | Cast: Elisabeth Moss, Dan Stevens, Cara Delevingne
FROM THE PROGRAM: “Channelling the infamous Courtney Love in her role as Becky Something, Moss is a rock star whose band has reached its use-by date. A self- destructive narcissist, Becky’s coke-fuelled tirades alienate her bandmates, partner and manager as she hurtles towards impending doom.”
SEE THIS BECAUSE…: Elizabeth Moss is on an Oscar-bound career trajectory. She’s America’s most versatile and fearless young actress.

ANTHROPOCENE: THE HUMAN EPOCH
WED 5 JUN 6.45 PM | TUE 11 JUN 6.45 PM
Canada | 2018 | 87 mins | In English, Russian, Italian, German, Mandarin, and Cantonese with English subtitles | Australian Premiere
 | Directors: Jennifer Baichwal, Nicholas de Pencier, Edward Burtynsky | Screenwriter: Jennifer Baichwal | Narrator: Alicia Vikander
FROM THE PROGRAM: The striking images demonstrate how humans are shaping our planet at an ever-increasing rate; hence the title, for this is the age in which human activity is the dominant influence on the environment. De Pencier’s epic cinematography and Alicia Vikander’s narration capture the immense power and terrible beauty of our endeavours.
SEE THIS BECAUSE…: We are the virus.

AMAZING GRACE
SUN 9 JUN 4.45 PM | MON 10 JUN 4.15 PM
USA | 2019 | 87 mins | In English | Australian Premiere | Realised and Produced by Alan Elliott
FROM THE PROGRAM: “Over two days at L.A.’s New Temple Missionary Baptist Church, accompanied by
the Southern Californian Community Choir, Aretha Franklin sang from the heart and her astounding performance was captured by filmmaker Sydney Pollack. The resulting recording, Amazing Grace, became her most successful album, but the film of her performance – for multiple reasons – was never released...until now.”
SEE THIS BECAUSE…: There has never been, and will never be, a singer like 29 year-old Aretha Franklin.

DARK PLACE
SAT 15 JUN 8.45 PM | SUN 16 JUN 6.30 PM  
Australia | 2019 | 75 mins | In English | World Premiere
Directors and Screenwriters: Björn Stewart, Perun Bonser, Kodie Bedford, Liam Phillips, Rob Braslin | Cast: Clarence Ryan, Charlie Garber, Leonie Whyman
FROM THE PROGRAM: “Australian genre cinema takes an exciting leap forward with Dark Place, a quintet of tales
that approach post-colonial Indigenous history through the lenses of horror and fantasy.”
SEE THIS BECAUSE…: The horrors endured by Australia’s indigenous population since European settlement seem entirely appropriate inspiration for a (long overdue, frankly) genre film deconstruction.

SHORT FILMS BY AGNÈS VARDA
Screening with the feature presentations as part of the sidebar VIVA VARDA.
FROM THE PROGRAM: “Across six decades Agnès Varda made over twenty short films. The titles represented in this season are perfect capsules of the times in which she lived and showcase the vast creativity that she brought to films – large and small.”
BLACK PANTHERS | FRANCE | 1968 | 30 MINS | Varda's observational doco captures the essence and impetus behind the Black Panther movement.
RÉPONSE DE FEMMES | FRANCE | 1975 | 8 MINS | Varda assembled a group and asked, “what it means to be a woman”. This is their reply.
SALUT LES CUBAINS | FRANCE | 1963 | 30 MINS | Agnès Varda travelled to Cuba to photograph life under Fidel Castro: a celebration of culture, rhythm and the women of the revolution.
UNCLE YANCO | FRANCE | 1967 | 19 MINS | Agnès Varda’s encounter with a long-lost relative brims with joy and playfulness.
SEE THIS BECAUSE…: It is a rare opportunity to see some of the finest film works from the most influential period in the history of the artform.

DEPRAVED
WED 5 JUN 8.15PM | MON 10 JUN 8.15PM
USA | 2019 | 114 mins | In English | Australian Premiere | Director, Screenwriter: Larry Fessenden | Cast: David Call, Joshua Leonard, Alex Breaux
FROM THE PROGRAM: “Mary Shelley’s classic has inspired countless
films since 1910. It’s to the enormous credit of indie horror king Larry Fessenden that Depraved feels so fresh. A scary, tense and darkly comic tale laced with hallucinatory imagery and driven by powerful emotion.”
SEE THIS BECAUSE…: Frankenstein + Fessenden (Fessenstein…?) is too good a concept to resist.

ME & MY LEFT BRAIN: THE ALEX LYKOS INTERVIEW

Alex Lykos burst on the Australian film scene with his debut script, the 2015 adaptation of his play Alex & Eve. Directed by Peter Andrikidis, the film proved a sleeper hit, but was a frustratingly slow process for the young writer. For his follow-up project, Lykos wanted greater control, and the result is the rom-com/fantasy Me & My Left Brain, a crowdpleaser on which Alex Lykos has taken multi-hyphenate duties as writer, director and star. “I went into this blind,” he jokes, “and I got very lucky.”

Lykos reflected upon the experience of shooting Me & My Left Brain in a lengthy chat with SCREEN-SPACE, in which he addressed the value of a cast featuring Malcolm Kennard and Rachael Beck, the insight that one’s personal journey brings to a script and the stark realities of seeing your first film to completion…  

SCREEN-SPACE: There’s the spirit of early Woody Allen in Me & My Left Brain, with homage paid to Play It Again Sam and Annie Hall, for starters. Who are the filmmakers and films that have informed your writing and performing?

LYKOS: Definitely, Woody Allen has been a significant influence on me. Billy Wilder is another, especially The Apartment, and of course Some Like It Hot. Nora Ephron, I love her writing. Cameron Crowe is another; love Say Anything and of course Jerry Maguire. Recently, Alexander Payne, has been a significant influence. 

SCREEN-SPACE: You and co-star Malcolm Kennard share some long-takes together, working up a great chemistry in those moments. What are his strengths as a scene partner?

LYKOS: When first considering Mal, we set up a half-hour cafe meeting; three hours later we were still talking (laughs). Neither of us came up for air. It was pretty clear a connection was made immediately. We saved so much time trying to build ‘chemistry’ as it just happened. Mal’s process was all about staying as relaxed and as loose as possible. He taught me a lot as an actor, especially when it comes to shooting the close-up. Mal is not about playing it safe. He’s a risk-taker and found some lovely moments that were not in the script. Initially, I had some trepidation towards directing, but Mal encouraged me to do so. To have someone of his standing backing me was reassuring. We’re like brothers; we can argue and make up and argue and make up within a minute. We are like Snapchat (laughs); any arguing is immediately erased, there is no lingering residue. (Pictured, right; Lykos and Kennard on-set) 

SCREEN-SPACE: There is a real sense of friendship and natural sweetness between you and your leading lady, Rachael Beck…

LYKOS: Rachael attended one of my stage shows years ago, and we spoke briefly. Her energy and general disposition suited what I had in mind for the role of ‘Vivien’. And from when she came on board, she was just open to everything. It was she who noted the importance of building a bond, encouraging us to catch up, run some lines. Anyone who has worked with her will tell you, she is just delightful to work with. So much so that I have actually written the lead role for her in my next film. She has so many special qualities on screen. (Pictured, below; Rachael Beck and Lykos between takes during the shoot)

SCREEN-SPACE: I sensed a degree of catharsis was being worked through in your scrip. Is ‘Arthur’ and his experiences drawing upon certain specifics of your life?

LYKOS: Absolutely. A lot of us have felt the pressure of Sydney’s real estate market, kicking ourselves for not having bought 10-15 years ago, (leading to) second-guessing a career choice of a life in the arts. You see friends in the corporate world, getting promotions or a pay rise, that ‘uniform climb’ up the ladder. The life that artists choose doesn’t offer that. So there have been many dark moments, at least for me. For one scene, I was on 2 hours sleep a night, enormously stressed. We did this dramatic scene that, in many ways, mirrored my real life situation, and I broke into tears. With each take, I got more emotional and was bawling my eyes out. The take we ultimately used was the 6th one, after I had spent all my tears. On the day it looked like good acting, but in the edit it was too much. 

SCREEN-SPACE: Tell me about the work ethic needed on a shoot like this. It was low-budget but looks polished; there was location work, which comes with its own variables.

LYKOS: It was definitely a grind. We shot in 13 days so I needed to do a lot of pre-production preparation, especially on the locations. I got a couple of actor friends, went to the shooting locations and walked through the scene, literally pre-blocking it. So on the day, with the real actors, I knew exactly how the scene would play out. I think this is where my background in theatre helped. (Pictured, right; co-stars Kennard, left, and Chantelle Barry on location with Lykos)

SCREEN-SPACE: What professional lessons did you learn from the experience of building this film from the ground up?

LYKOS: Oh my gosh, heaps. Having a good crew is paramount. And it really is all about the script. Shooting is a whirlwind, so there is no time to rewrite. I had no idea what post-production entailed. Once we finished shooting, I was introduced to Miriana Marusic (Director of Photography on The Castle) and she edited the film. We built a great energy in the editing suite and I came to rely on her opinion on everything. Without her, the film doesn't get finished. Miriani and I would travel to the Newcastle studio of our sound designer, Anthony Marsh and we would have the best time working on the sound. And I was fortunate enough to have composer Cezary Skubiszewski (Red Dog; The Sapphires) give the film a real professional polish. Flying down to Melbourne to watch the live recording of the music was a real buzz. Cezary treated me like I was family. I went from shooting a film with no idea what post-production was, to having three of the best work alongside me to get it finished. 

SCREEN-SPACE: Are the traditional elements of the romantic comedy being challenged by the shifting nature of gender definition in society? In writing Me & My Left Brain were you conscience of representing male and female roles in the most contemporary way possible?

LYKOS: Absolutely. The landscape has changed and we as writers need to be sensitive to this new landscape. We actually shot the film October in 2017 and in the 2nd week, the Harvey Weinstein scandal broke. I have always tried to write honestly, and when writing this film, I wasn't thinking so much about the representation of men and women. Alex & Eve has played such a big part of my creative life with three incarnations on the stage and the film, and it relied on broad 'ethnic comedy' and ethnic stereotypes. With this film, I wanted to tell a comedy which did not rely on these broad stereotypes. I did not want to cast according to ethnicity, (but) simply based on who had the right disposition for the role irrespective of their cultural background. (Pictured, above; Lykos with co-star Laura Dundovic)

ME & MY LEFT BRAIN will be in select Australian theatres from May 16; venue information and ticket sales are available via the official website.

5 THINGS YOU NEED TO KNOW ABOUT MATI DIOP*

*APART FROM BEING THE FIRST BLACK WOMAN DIRECTOR IN THE HISTORY OF THE CANNES FILM FESTIVAL TO HAVE A FILM SELECTED IN COMPETITION FOR THE PALME D’OR.

The announcement this week that Atlantique, the feature film directorial debut of 36 year-old Mati Diop, will play In Competition at the 72^nd Cannes Film Festival poses the question - who is this Paris-born Senegalese filmmaker and how has she arrived at the centre of this landmark moment in film history…?

SHE IS THE NIECE OF THE LEGENDARY SENEGALESE FILMMAKER DJIBRIL DIOP MAMBETY: Alongside contemporaries Ousmane Sembene and Malian filmmaker Soulemayne Cisse, Djibril Diop Mambéty (pictured, right) was a pioneer of early African cinema, daring to challenge the impact of colonialism and the social struggles of his people in films that are now seen as artistically and narratively groundbreaking. He directed five shorts (including his final film, 1999’s global festival hit The Little Girl Who Sold The Sun) and only two features, but they remain films that define Senagelese cinema on the world stage – Touki Bouki (1973), a fateful, funny, endearing teenage love story; and, Hyenas (1992), a biting satire of wealth and status that earned Mambéty a Palme d’Or nomination. In 2013, Mati Diop directed the documentary short A Thousand Suns, which examines the impact her uncle’s landmark film Touki Bouki had on Senegalese culture. The family is rich in talent – her father is renowned jazz musician Wasis Diop.

SHE IS ONE OF HER NATION’S MOST RECOGNISABLE ACTRESSES: Mati Diop began directing short films at the age of 22, supplementing those early years with acting work. She was directed in her first feature by no less than the legendary Claire Denis, who cast the then 25 year-old actress as ‘Josephine’ in her 2008 drama, 35 Shots of Rum. She would do much of her on-screen work in Europe, working for such directors as Sébastien Betbeder (Yoshido, 2010); Thierry de Peretti (Sleepwalkers, 2011); Antonio Campos (Sundance Grand Jury PrIze nominee, Simon Killer, 2012, which she co-wrote); avant garde visionary Benjamin Crotty (Fort Buchanan, 2014); and, Argentinian Matías Piñeiro (the US-shot Hermia & Helena, 2016).

SHE ADAPTED HER 2009 DOCUMENTARY SHORT ‘ATLANTIQUES’ INTO HER FIRST FEATURE FILM: At a point in Senegal’s history when the poor and exploited were taking to the sea in crowded, poorly-maintained boats, Diop embedded herself with a group of young refugees (including her own cousin, Alpha) as they prepared for the perilous journey (pictured, right). The group were among the tens-of-thousands ofSenegalese who fled for Spain in the mid-2000s; in 2006, it was reported 15,000 Senegalese were apprehended by Spanish authorities, while as many as 1000 died at sea. The short, the first of five she has directed, became a film festival favourite, winning prestige honours at Cinema du Reel and the Rotterdam International Film Festival. The plight of Senegal’s displaced was also addressed in La Pirogue (2012) by a fellow first-time feature director, Moussa Toure.

HER FILM IS IN WOLOF, HER NATION'S MAIN DIALECT: Her feature retelling, co-written with Olivier Demangel (Moussem les morts, 2010; Rattrapage, 2017), was shot in Wolof, the predominant language of the Senegalese people. A co-production between funding bodies from Senegal, France and Belgium, Diop undertook a seven-week shoot with DOP Claire Mathon (Stranger by The Lake, 2013) on the Atlantic coast of the capital, Dakar. Website Cineuropa provides the following plot summary: “(The landscape is) dominated by a futuristic-looking tower that is about to be officially opened. The construction workers have not been paid for months, so they leave the country via the ocean, in search of a brighter future. Among them is Souleiman, the lover of Ada, who is betrothed to another. Several days later, a blaze ruins the young woman’s wedding and mysterious fevers start to take hold of the local inhabitants. Little does Ada know that Souleiman has returned…”

HER EARLY WORK WAS FEATURED IN THE BRITISH FILM INSTITUTE’S EXPERIMENTA STRAND IN 2016: Alongside Atlantiques, the BFI programmed Diop’s early shorts Big in Vietnam (2011) and Snow Canon (2011) in their renowned festival’s Experimenta line-up, featuring works that challenge conventional narrative and aesthetic filmmaking; the BFI website described her films as “a revelation”. When asked about her interpretation of the refugee experience in Atlantiques, she said, “I chose not to treat immigration as a subject but as an individual and sensitive experience, as a kind of time travel.” Her delicate drama Snow Canon (featured, above), an examination of an innocent liaison between a teenage girl and her babysitter, evoked her response, “I just hope people leave the film with a special feeling or mood, one that you remember like a melody for days, weeks or forever, rather than just remembering the story itself.” In January 2018, the London Institute of Contemporary Arts screened four of her shorts (including 2015s Liberian Boy; pictured, right), describing the collection as "...phantasms of the mind...nakedly human, peopled by characters who are fearful yet resolute, consumed by desire." 

READ the Screen-Space WORLD CINEMA/SENEGAL Feature here.

PREVIEW: GOLD COAST FILM FESTIVAL 2019

Any notions that the Gold Coast Film Festival (GCFF) is still the ‘little festival that could’ on Australia’s film event calendar are well and truly dispelled with the announcement on Friday of the 17^th annual program. Boasting a roster of 107 films, including three world, ten Australian and four Queensland premieres, the 12-day event can proudly stand alongside its fellow film celebrations in the nation's capital cities; the 2019 edition launches April 3 amongst the sun, sand and surf of the east coast tourist mecca.

In recent years, the GCFF has confirmed its status as a unique cultural event with a broad audience focus, ambitious programming and globally recognised brand. “I’m a firm believer that the best film festivals offer the public so much more than just the chance to watch movies and we have once again raised the bar on that front,” said Festival Director Lucy Fisher (via press release). “From unique pop-up cinemas on the water, in the bush and on urban streets to daily workshops for children, our massive program of events and screenings allows people to immerse themselves in film and have a little fun along the way.”

The Opening Night slot has gone to the speculative docu-drama 2040, actor/director Damon Gameau’s highly anticipated follow-up to his 2014 hit That Sugar Film. Envisioning a future in which all the right decisions about making a better society were implemented 20 years prior, 2040 will have its Australian premiere on the Gold Coast following its World Premiere at the prestigious Berlin Film Festival earlier this month.

The Gold Coast Film Festival’s own global firsts include Caitlin Farrugia and Michael Jones’ Maybe Tomorrow, a crowdpleasing comedy/drama about young filmmakers balancing the urge to create with the responsibilities of a newborn; Locusts, a noirish outback thriller from writer/director Heath Davis (Book Week, 2018); and, Storm Ashwood’s Escape and Evasion, a powerful portrayal of wartime horrors and PTSD, which was shot on the Gold Coast and has secured Closing Night honours for the young director.

Amongst the Australian premieres are David Robert Mitchell’s Cannes entrant Under the Silver Lake, the director’s follow-up to his cult horror hit It Follows and starring Andrew Garfield (pictured, top); the family drama Mia and The White Lion, director Gilles de Maistre’s remarkable account, three years in the making, of a friendship between a lonely girl (Daniah De Villiers) and the titular beast; and, the animated Brazilian film, Tito and The Birds, a story of courage and faith in the face of a global threat that employs CGI, traditional cell animation and oil painting techniques from directors Gabriel Bitar, Andre Catoto and Gustavo Steinberg.

Also debuting for local audiences will be Tony D’Aquino’s The Furies (pictured, right), an Aussie bushland spin on the classic ‘slasher in the woods’ genre. The Odin’s Eye acquisition will be the centerpiece of ‘Horror in The Hinterland’, an outdoor screening event that plonks daring horror-hounds in front of a pop-up screen somewhere on Springbrook Mountain; Drew Goddard’s 2011 cult-horror classic The Cabin in The Woods, with Chris Hemsworth, will also contribute to a new kind of horror film-watching experience for the stout-of-heart.

Other high profile titles across the 2019 line-up include Wayne Blair’s rom-com Top End Wedding, starring Miranda Tapsell, fresh from its triumphant Sundance sessions; Imogen Thomas’ heartwarming Emu Runner, the story of an indigenous girl who seeks out the spirit of her late mother by befriending her totem animal, an emu; French director Claire Denis’ first English language film, the sci-fi thriller High Life, starring Robert Pattinson and Juliette Binoche; surf cameraman Tony Harringtion’s spiritual saltwater odyssey, Emocean; and, Yen Tan’s Texas-set coming home/coming out drama 1985, with Virginia Madsen and Michael Chiklis.

The GCFF values the history of cinema, with several retro-screening events scheduled. The ‘Laneway Cinema’ initiative combines Asian cuisine with two Jackie Chan films, Karate Kid (2010) and Drunken Master (1978); Lady Parts podcast hosts Aimee Lindorff and Sophie Overett, with guest Maria Lewis, will dissect Wes Craven’s landmark horror pic, Scream (1996); the luxurious Spirit of Elston riverboat will host this year’s Floating Cinema event, with a romantic rooftop session of the Adam Sandler/Drew Barrymore flick, 50 First Dates (2004); and, the Burleigh Brewing Co. are lending their profile to a special event screening of Paul Thomas Anderson’s Boogie Nights (1997).

Insider events include the Screen Industry Gala Awards, a ticketed evening hosted at the Movie World theme park/studio complex, during which the achievements of all nominees across feature films, short films, webseries and screenwriting will be celebrated. During the awards, iconic Australian actress Sigrid Thornton (pictured, right) will be presented with the 2019 Chauvel Award in recognition of her significant contribution to the Australian screen industry. Also, the festival in conjunction with Screen Queensland, will host the fifth annual Women in Film Luncheon, welcoming Greer Simpkins, producer and Head of Television at Bunya Productions, as the guest speaker.

The Gold Coast Film Festival will run April 3-14 at various locations across The Gold Coast. It is supported by its major partners Screen Queensland, the City of Gold Coast, Tourism and Events Queensland and HOTA, Home of the Arts. For all events, sessions details and ticketing visit the official website.

5 REASONS WHY A STAR IS BORN WILL WIN BEST PICTURE

When A Star is Born premiered at the 2018 Venice Film Festival, it took a lightning strike literally hitting the theatre to slow the momentum of Bradley Cooper’s directorial debut. The projector blew out, the cinema went dark for ten minutes, and then…the crowd roared when the musical drama lit up the screen once again. That audience would ultimately give the film an 8-minute standing ovation, an overwhelming response that was repeated at the film’s Toronto Film Festival screening a few weeks later. The film that Variety’s chief critic Owen Gleiberman called, “a transcendent Hollywood film,” was shaping as an Oscar evening lock; it would earn a whopping 8 nominations, including Picture, Actress, Actor, Adapted Screenplay and, of course, Song for ‘Shallow’ a smash hit for the film’s breakout star Lady Gaga.

However, the road to Academy Award triumph grew bumpy – Cooper had missed out on a Best Director nomination; Green Book surged during the voting period; Bohemian Rhapsody became a blockbuster, challenging for the ‘Musical of The Year’ crown; the community of Hollywood Guild’s (Writers, Cinematographers, Editors, etc) kept nominating, but then ignoring, A Star is Born.

The journey of A Star is Born is one of triumph in the face of odds and adversity (remember the lightning?). Which is why, when the Best Picture winner is announced at the 91^st Academy Award ceremony, A Star is Born will be lauded the best film of 2018. Consider these five compelling arguments for the film’s fairy tale finish…    

IT IS A TIMELESS STORY, SYNONYMOUS WITH BOTH OLD AND NEW HOLLYWOOD: The story of the down-on-her-luck singer discovered by a mega-star as his own celebrity is waning has been filmed three times, with each earning big box office and AMPAS adoration. William Wellman’s 1937 original, starring Janet Gaynor and Frederic March, earned seven nominations, winning for Screenplay; George Cukor’s 1954 classic starring Judy Garland and James Mason earned six nominations; and, in 1976, Barbra Streisand and Kris Kristofferson fronted Frank Pierson’s blockbuster, a four-time nominee and winner for Best Song, the Streisand/Paul Williams hit ‘Evergreen’. Cooper succeeded at contemporising a classic Hollywood narrative; old AMPAS voters will respect that.

IT BRIDGES THE GAP BETWEEN THE INDUSTRY, THE CRITICS AND THE PEOPLE: A Star is Born ticks all the boxes across the key segments of a film’s life cycle. Cooper took creative risks by casting the largely untested box office pull of Gaga and brought the film in around the projected budget (US$37million); critics have been almost unanimous in their praise (it currently stands at 90% on Rotten Tomatoes) and it has been a fixture on most Best of 2018 lists; and, global audiences have turned out to the tune of US$445million (not including the blockbuster soundtrack and with home entertainment revenue to come).

IT DOESN’T HAVE AN ALBATROSS AROUND ITS NECK: In a year that saw some of the dirtiest campaigning in Oscar history, A Star is Born carries with it no ugly baggage. Peter Farrelly’s Green Book came under particular scrutiny, with the director’s past as a serial exposer of his junk (for comedic effect, but still…), the co-writer posting right-wing, racist comments and leading man Viggo Mortensen naively uttering a racially-charged word at a press conference all painting the well-meaning drama in a bad light; Bohemian Rhapsody director Bryan Singer’s alleged sexual indiscretions came to the fore during campaigning; and, BlacKkKlansman’s Spike Lee refused to court favour with the Academy by curbing his outspokenness. By comparison, the adorable public displays of mutual respect and affection between Cooper and Gaga (who will perform ‘Shallow’ live during the ceremony) have endeared them to audiences and voters alike. 

THERE IS A ‘CONFLUENCE OF COINCIDENCE’ AMONG NOMINEES THAT HAS CUT A PATH FOR IT: Green Book is stumbling, the Best Picture trophy it was on track to win now seeming a little to much praise for a film that earned good-not-great notices; Spike Lee will earn the Best Director trophy, taking his ultra-angry film out of the Picture race; Alfonso Quaron will take rightly Foreign Film and Cinematography categories, negating its Best Film slot; Vice, Black Panther, Bohemian Rhapsody are officially rank outsiders. What remains is a face-off between Yorgos Lanthimos’ The Favourite, an arthouse hit that few outside the urban centres have seen (US domestic box office total – US$31million) or one of the biggest critical and commercial hits of the year. With AMPAS desperate to appear relevant to mainstream audiences (remember the ‘Best Popular Film’ fasco?), rewarding a four-quadrant hit like A Star is Born seems a no-brainer.

IT WILL AFFORD SAM ELLIOTT HIS TIME ON OSCAR’S STAGE: Elliott won’t win for Best Supporting Actor – Maheershala Ali for Green Book is the night’s odds-on shoe-in – so a Best Picture nod will get the 74 year-old onstage with his fellow cast and crew to share in the glory. When Cooper utters, “And, oh my God, working with Sam Elliott,” the room will go fucking crazy.