Film Shapes

Here's a film that's had more said about the bullshit around it than the film itself. Therefore, I'll try to keep it relevant. This is Olivia Wilde's second feature and she's a bit of a dab hand at this directing lark. I haven't seen her debut, Booksmart , but have heard good things. In a nutshell, Don't Worry Darling (errant comma notwithstanding) is a stylish, speculative drama, with a patina of utopia-cum-dystopia that masks something far more commonplace and unsettling. Florence Pugh is the dutiful 1950s hausfrau of Harry Styles, who live in a postcard perfect sunny, desert community, presumably near the West coast of the US. Styles' Jack works for Chris Pine's pseudo-cult leader, Frank, in a mysterious compound just out of the town of Victory. Pugh's Alice spends her days with other wives, shopping, practicing ballet or getting pissed up. All's going swimmingly until one of Alice's friends, Margaret (Kiki Layne), begins to ask quest...

Can an idea be killed? Can you erase or transform folkloric mythology? Star Wars and organised religion would hope not but it seems Goran Stolevski might think otherwise. You Won't Be Alone is the debut feature of this Macedonian/Aussie filmmaker (he's also got Of an Age doing the festival circuits at the moment - it took out the top prize at WA's own Cinefest Oz recently). The film is set in Macedonia in the 19th century and, as you might expect, it's pretty bleak, especially for women. It starts with a mother and baby getting an unexpected visit from Old Maid Maria, a scarred witch who is after blood. The mother cuts a deal which gives the child 16 years grace before she is to be taken so, in the words of the mother, "you won't be alone." In an attempt to trick the witch, the child is hidden in a cave until the inevitable day when she is claimed. Henceforth, the child grown, Nevena (Sara Klimoska) becomes a kind of trainee witch to Maria (Anamaria Mar...

This loyal coverage of the Bowie legend begins with the voice of the man himself over a whack of white text on black, musing on the apparent 'death of God'. It's a fairly ambitious way to kick off but director Brett Morgen isn't have a bob each way here. It must have been a thankless task deciding on the format and style for this doco (ok, maybe not style, as that kind of speaks for itself with Bowie). There are amazing concert snatches peppered through the film and the opening number - All the Young Dudes - from an early gig is stupendous. Sound and Vision, from his Berlin sojourn, was brilliantly cut to painterly dobs, like a Kandinsky composition, and Heroes was spine tinglingly fine. But...returning to the format, I think this is where it dips out. The film is a long 2 and a quarter hours, by long, I mean it felt like a lot longer. Morgen attempts to use as much Bowie narration and gig footage as possible and neglects any other viewpoint or angle that may have opene...

This is a great film, especially in the way that it manages to create something interesting out of a reasonably mundane synopsis. A young girl is sent away to a relative's house for the summer where she is treated better than at home. Sounds like it could have a bit of Rohmer-style youthful awakenings? Or maybe some gritty Loach-ian societal comment? Even perhaps a revenge tinged 'fear the youth' theme? Well, it's none of the above, and more power to its style. The Quiet Girl herself (Cáit) is a newcomer, Catherine Clinch, and she was apparently found via an Irish language school call out. She's incredible - meek, direct, no airs nor graces whatsoever, with a clear-eyed awkwardness. She's almost like a little female Bowie in The Quiet Girl Who Fell to Earth (no, not a film but I thought I'd italicise anyway). There are orbiting performances that complement her perfectly. Carrie Crowley and Andrew Bennet play Eibhlín and Seán Cinnsealach, the couple who tak...