• Rosetta


    Rosetta's continuing frustrations with her gruelling living circumstances at some point also become my own frustrations with this film. To me the film seems to be formed through a series of similar activities paired with similar visual gestures. One might find themselves being hypnotised by these "echoed" gestures and this cyclical nature of the film - we become accustomed to Rosetta's constant routines and her constant struggles - also note this visual idea of circles in the film- in the…

  • A Circus of Hells

    A Circus of Hells

    Such an eclectic myriad of colours and sound. There are many opposing forces at work here, and because everything evaporates off the screen so quickly it is hard to pin down what exactly is going on - we are just left with a rush of hallucinatory turbulence. There are two distinct sections which act to divide the short up but also their positioning creates some sort of juxtaposition. The first there is an idea of lethargy and slowing down -…

  • Perfect Lives

    Perfect Lives


    Perfect Lives is a complete assault on the senses and that is not necessarily a good or bad thing, it just exists as a thing - which I feel is the primary ethos of this work - it's not necessarily about drawing comparisons or creating patterns between different observations, although you could try and categorise the film in this way, as one could do that in any way they wanted to. As an experience though, what really sticks out is…

  • Fudget's Budget

    Fudget's Budget

    It’s really interesting that this short (more than any other UPA short imo) functions as a metacommentary on UPA’s economic, DIY approach (and ultimately ethos) to animation as well as their “brand” - which was in rejection to Disney’s detailed, textured and luscious style which relied on a very large taskforce of artists who were assigned to certain departments and delegated extremely specific tasks, tasks that would in themselves have very little effect on the final product. Fantasia, for example,…

  • Wonderwall


    I’m not sure why after George Harrison’s first three solo albums – all of which were aesthetically and stylistically distinct, well rounded and forward thinking – he decided to make the same bland soft rock album again and again for the rest of the 1970s. And yet despite all of this, Wonderwall Music and Electronic Sound always seem to remain overlooked. I think with “Gone Troppo” Harrison more or less redeemed himself, but that was (unsurprisingly) panned by critics –…

  • Working Week

    Working Week

    A very well-made short film shot on Super-8, that provides a textured exploration of day-to-day life in 1980s Melbourne suburbia. A lot of the editing and directing is very reminiscent of early Godard films, especially in the way the film naturally captures conversation and interactions between the characters, as well as how the passing of time is shown in the thinly plotted narrative.

    You can watch it here: www.youtube.com/watch?v=pw6jmHmRGHA

  • Film



    At the start of Beckett’s almost 100 pages of notes on his 20 minute short, “Film”, he quotes Irish philosopher George Berkley: “Esse est Percipi”. This basically means “to be is to be perceived”. And despite the fact that Beckett actually misquoted Berkley, – Berkley originally wrote “esse is percipi” – it is likely they would have shared the same sentiment. Lacan would go on to write more extensively about this idea of “being seen” in his works on the…

  • Ford v Ferrari

    Ford v Ferrari


    This review may contain spoilers. I can handle the truth.

    There's a point at 7,000 RPMs where everything fades. The machine becomes weightless. It disappears. All that's left, a body moving through space, and time

    By the end of Ford v Ferrari, there comes this realisation that this "true" American Dream, promulgated by the types like the Ford executives, is a complete farce and is as arbitrary and pointless as the US' fascination with fast and shiny cars - it's all smoke and mirrors. And in the end, friendship and…

  • Vice



    The main weakness of this film is McKay's reductive approach to telling a very complex and nuanced story. McKay is not a historian and he's not a very good filmmaker either, and in this film it really shows.

    The motivations for the protagonist's actions are something rarely shown in this messy biography of former vice-president, Dick Cheney. Instead of trying to show the thought process behind Cheney's (actually very complex) decisions, director Adam McKay presents the decisions as something that…

  • Where the Wild Things Are

    Where the Wild Things Are


    This whole film seems too friendly and relatable - which in most cases isn't a bad thing for a movie targeted towards children. However, the original book by Maurice Sendak takes on a much darker tone where the wild things are more brutish and barbaric and the book is still able to keep its (universal) appeal.

    There is much more dialogue in the film and Jonze humanises the "wild things" through their speech and conversations with Max. Rather than keeping…