I’ve been trying my hand at some acting recently here in Sydney. I’ve been working with the talented filmmaker Darcy Prince on some short experimental pieces. If anyone would like to see his work it is here on the youtube channel Knowledge Variable.
The films involving me can be viewed on this playlist.
1. A Fear of the number 13
2. Friday 13th.
3. Unlucky for most
4. Who witness this
5. Dumber One
6. Assault on the senses.
7. Another old Greek word is
9. But the more modern
11. Says it just as well
12. And Shouts louder
13. On July 13th
In the cemetery under the sun-glazed clouds
Peter Fonda and Dennis Hopper
Are tripping their way into
Marie Laveau studies the Americans
From the present privacy of her chambers
And considers a spell
The tie-dyed dead dance
and we are here Today
Where the chants ring out
Both loud and true
Jenga in the hotel lobby
Brass bands in the street
Towers get built up to the sky
And knocked down on repeat
There’s plenty of conflict
And an ongoing war
But here the hand grenades
Are for throwing from bar to the floor
My review of the short film The Energy Within is over at Flickering Myth. Starring Paralympian Stefanie Reid in her debut film performance, the 17min film is an inspiring take on focusing mind and body through sporting endeavour.
Based on her own real-life experiences, The Energy Within stars Paralympian Stefanie Reid in her debut film performance.
Across its 17 minute duration, the short tracks the progress of Julie Bennett (Reid) as she attempts to get back into racing competition despite losing a leg in an accident. After finding the courage to approach respected coach George Hart (Daniel Adegboyega), Julie asks to join his team of professional runners. It’s a difficult thing for her to ask, as she has never raced since her accident.
Afraid of what he and her fellow runners (Marie-Helene Boyd and Suzy Bastone) will think of her if she reveals her disability, at first Reid tries to hide her situation by running on a weaker prosthetic limb. The startling realisation that she has to come to terms with her disability in order to become stronger is a powerful message, and it’s dealt with brilliantly in this short film.
The story also sees Reid encountering her next door neighbour (Aasiya Shah), a teenager struggling with her violin practise. An exasperated Reid shares some choice words with the brash youth, guiding her onto trying harder and putting her mind to the job at hand. In her own words, ” The only one who actually cares is you. So if you think you suck, then, yeah, you probably suck…”
It seems to do the trick, as after a brief scene switch the next we hear is the girl trying the notes on the violin again. It’s a well done part of the film, and isn’t over done. It just goes to show that all of us have challenges to over come and how we address them forms part of who we are.
As a whole, the film rapidly showcases the power of sport in focusing the mind and the body. Reid does a great job at bringing her own personal experience of competing with a disability to the screen. She is a strong lead in a story that inspires and informs in equal measure.
THE ENERGY WITHIN will premiere online in March, during the 2018 Winter Paralympics in South Korea.
Review of women’s liberation in Switzerland film The Divine Order over at Flickering Myth and below.
An informative and entertaining drama, The Divine Order tells a serious story in easily watchable fashion, focusing on strong performances from the two leads (Marie Leuenberger, Maximilian Simonischek) as the couple at the heart of the film.
Showing how Switzerland’s female population won the right to vote in 1971, the movie does not barrage the audience with political theory or facts and figures. It simply shows, in a surprisingly light but resolutely inspirational tone, how and why the country’s women did not enjoy political suffrage earlier and what needed to happen in order to gain it.
Nora (Leuenberger) has a peaceful and secure existence in her small Swiss village. Her days are spent looking after her two sons, unimaginative husband (Simonischek) and cantankerous father-in-law. As the contrasting documentary style news images that play in the opening credits remind us, the year is 1971 and major political change is happening throughout the world. And yet, here, in Switzerland the contrast is as clear as the snow peaked mountains in the distance.
The story plays around Nora’s gradual empowerment as she realises that things can’t continue as they always have done. She wants to work, and her husband flat out refuses. He is not even entirely sure why himself; it is just not the done thing in those parts. There are many moments in the film just like this, where received wisdom and old-fashioned ‘tradition’ become embroiled in plain misogyny shock with a potent force. The film is not a difficult watch, it’s true, but that shouldn’t be seen as a criticism. In fact, it manages to get across the central ideas clearly, which when you’re talking about more than half of the population’s right to vote can only be welcomed.
There is humour within the film as well. A travelling workshop taught by a Swedish hippie (TV series The Bridge’s Sofia Helin) shows the local women the philosophy of yoni power and the importance of loving their vaginas. The almost slapstick comedy of this and other scenes broadens the film’s appeal somewhat, and brings the important points it has to make about political identity and power home in clarity.
There are also moments of real violence and infuriating diatribe from the local men, as well as the female head of the anti-women’s right to vote society. These real dangers show exactly why women in remote areas found it difficult to make their voices heard on issues such as this.
Through self-education and determination Nora manages to make a difference to the village, and to the other women, because she is someone. She is herself, and not only a wife and a mother. The basic points are what needed spelling back in the 1970’s, and they retain their urgency today. Petra Volpe’s film does that in an audience pleasing way, and manages to be both insightful and motivating.
My review of the deeply strange fairy tale/folk horror is over at Flickering Myth and below…
Rainer Sarnet’s beautifully strange rumination on love and loss set against a pagan backdrop of fairy-tale and mythological themes is a compelling journey through an unsettling dream landscape. The intense black and white cinematography calls to mind the work of filmmakers as diverse as Bergman, Lynch and Carl Theodore Dreyer, but Sarnet’s film is completely of itself, and manages to create its own fully formulated world.
Set in a surreal version of 19th Century Estonia, local peasant workers survive hunger and the cold through a mixture of begging, borrowing and stealing. Sometimes, in order to cheat death or the Devil, they are even persuaded to give up their souls to the animistic kratts; odd work constructs made from scrap metal and animal bones. These proto-robotic creations bring a sense of dark humour to the film, ambling along and calling out in disembodied voice cantankerous instructions and bleak warnings. The film brings out this working life clearly and in explicit detail. It is as if the day to day concerns of keeping the village in order just happens to involve these jumbled up combinations of souls and objects.
Cinematographer Mart Taniel handles these oddities in entrancing tone and style, with the detail informing the greater world in complex and bewildering beauty. The film places the viewer knee deep in the muck and the mire of the ancient forest village, perfectly bringing to life a place of intoxicating wonder. There is a profound tone of phantasmagoria working alongside the grotesque that makes the villagers reactions to life in the world complete and, in some sense, real and understandable.
Amidst this deeply strange backdrop is what at first sounds like a traditional folk tale. Liina (Rea Lest) is in love with local village worker Hans, who is in turn infatuated with a visiting German baroness. Liina is willing to go to any lengths to win her love, as is Hans, and the whole plot of unrequited love gets mixed up with the greater goings on of life, death and metaphysics. Ben Wheatley’s A Field in England also managed to create this mix of the workings of daily activity with magic and belief interacting in the foreground, and November shares that film’s trippy observation of dream reality from the bottom up.
Pagan philosophy and Christian theology both have sway in this world, as does the threat of the mysterious Plague, an ever-present force, able to take on different forms – at one point appearing as a goat, fans of The Witch will be pleased to see – and keeping the environment on constant edge. The presence of Dieter Laser (The Human Centipede) as the father of Hans’ crush is an archly amusing cue to genre and horror fans that not everything is to be taken at face value. Laser, for his part, plays the role with a wry remove, seemingly always on the verge on a raised eyebrow, but never distracting from the greater show of the dreamscape at large.
In terms of storytelling, Sarnet clearly takes cues from Expressionism, with a disorienting visual style of greater import than dialogue or structure of scene. This combined with the evocative music by Jacaszek and a distinct use of sound, makes the film as beguiling and enticing as any darkly furnished vision of both the up-close and personal, and the beyond.
In the park I feel able to relax, to experience a calm and peaceful tranquility away from the pressures and demands of my desk. The park is a new place to me, being as I am a newcomer to Sydney, but I have found it and the surrounding area to be extremely welcoming and inspiring.
Most days I will take a stroll around the parkland, stopping to notice the various plants, trees and brightly hued birds swooping around the foliage or pecking on the ground’s surface. I sometimes sit with notebook and pen, scribbling down new ideas for stories or poems. But I don’t force them out of my head-space. I am soon drawn back to my present area and the park, and can feel happy and content to be a small part of something much bigger than myself.
My own culture is a mixture of things, but the concept of parkland originated in Europe, as I did, so I suppose we have that in common. More than anything else though, the idea of an urban park is a place in the city that everyone can enjoy equally and respectfully. And that is certainly something to get behind, I think…