Sunday, 24 July 2016

Embrace: NZIFF Review

Embrace: NZIFF Review


Much like fellow Aussie Damon Gameau and his quest against the undeclared sugars in our diet, Body Positive movement founder Taryn Brumfitt is hoping to make a change.

With this brisk energetic documentary, Brumfitt's desire to shake up the way we see ourselves first and foremost won't come as a surprise to many who feel the fashion industry and society itself is in need of a change.

They say every picture is worth a 1000 words, and in Brumfitt's case, it was a picture that sparked a 1000 stories - predominantly to her in-box. Posting a non-traditional after image of her body after having had three kids and placing it side-by-side a picture of her winning a body building competition before, her social media was inundated with positivity - and negativity.

And deciding last minute to reject a cosmetic procedure over worrying what message that would send to her young family, Brumfitt decided to do something more positive.

With crowd-funding involved, Brumfitt decided there was something further to explore here and it was time to take on the perception of women in the western world - and more importantly,  empower those looking in the mirror that there's nothing wrong with what they see.

Complete with her red-rimmed glasses and bubbly effervescence, Brumfitt's world trip sees her frankness and openness charm, and she never steers into overt lecturing, preferring instead to let people speak for themselves and consequently inspire her audience.

There's no denying there will be relative whoops of delight when she places all her societally perceived flaws on display with a frank openness that's hard to disparage or mock. In among decrying that she had nipples the size of dinner plates and seeing a cosmetic surgeon claim her body could be enhanced in certain ways when there's nothing inherently wrong with it, Brumfitt's honesty and universal relatability will win over an audience.

The pacy doco may lack some commentary or riposte from the fashion industry it so readily looks to accuse (much like Gameau's That Sugar Film lacked any official response) but given its crowd-funding nature and its inherent positive desire to inspire women and everyday people, it seems only right that the stories and screen time is devoted to those who make up our society rather than those who photoshop it into oblivion dishing out excuses as to why it's valid.

While talking to the likes of celebs Ricki Lake, Amanda de Cadenet to model Stefania Ferrario all have merit, the true strength of the doco comes from time spent with Turia Pitt whose life was changed by a marathon and a bush fire that ravaged her looks and a skinny gaunt girl called Tina, whose tearful declarations will do more to force anger over perpetuating the stereotypes.

Peppered with vox pops over flaws from everyday people further fuels the fire that many are unnecessarily unhappy with their self-worth in a society obsessed with celebs and selfies. Brumfitt doesn't need to over-egg this pudding, the evidence in the body image debate is already overwhelming based on her meet and greets throughout.

One suspects as far as Brumfitt's concerned, even the spark of discussion is a major win for what's important - and Brumfitt's authenticity and entry into the body movement debate may grow the swelling feeling of getting back to what matters in life and not buying into what the social media obsessed world says is important. Presented in non-didactic fashion and with a pace that's energetic rather than lecturing, it's easy to see why it's helping galvanise the body image debate.

There's no denying that Embrace is a rallying cry, a genial non-polemic call from the floor to remember what's actually important in life, and to self-worth. If it inspires an epiphany in anyone viewing or sparks a conversation over perception, then that's no small victory whatsoever.

Saturday, 23 July 2016

Captain Fantastic: NZIFF Review

Captain Fantastic: NZIFF Review


Revelling in as much quirk as is cinematically possible and throwing kids into the mix on a road trip film certainly worked well for Little Miss Sunshine.

And to a degree, large parts of it are reused in Captain Fantastic, screenplay and director Matt Ross' film.

Starring Viggo Mortensen as Ben, it's the story of how his brood, who live life off the grid in the woods are forced into the wilds of American civilisation when Ben's wife kills herself. Deciding to gather up the clan and go and rescue her from the horrors of a Christian funeral as per her own wishes, Ben throws his brood onto the bus (named Steve) and sets out on their mission.

Embracing its anarcho-survivalist and pseudo intellectual edges, Captain Fantastic manages to pack in a great deal of humour at the idea of kids trotting out offbeat mantras, from celebrating Noam Chomsky's birthday instead of Christmas and from just generally mining unexpected language from young children's mouthes.

And while Mortensen shines, imbuing Ben with both a sensitivity of belief and a deep love for wanting what he believes best for all, the script's over-reliance on reaction shots to those encountering Ben and his brood for the first time begins to ultimately grate as the road trip moves from point-to-point with nary any reality within.

It serves as a vehicle to pour commentary on America's current obsessions - and indeed a billboard with "Is it immigration or is it invasion" on it feels scarily timely as they rumble toward a Trump-fuelled election.

But when Captain Fantastic lays off the twee quirk and the indoctrination of a doomsday preppers type ethos, it tries desperately - and inevitably - to inject drama and conflict from Ben's beliefs and others' objections to them.

It doesn't always work, simply because the film's solely (and perhaps understandably) on Ben's side (and ultimately the audience as well) and never wants to offer any kind of alternative. The conflict in the last third of the film with Frank Langella's reasoned father in law seems shoe horned in and unable to allow any consequence to flow; loosely, the father in law wants custody of the children out of anger for what's happened and this narrative thread simply melts away out of convenience rather than from resolution.  And a thread over a son's desire to go to college or another's rebellion are given meat early on but don't amount to anything when faced with the love of their father.

It's maddening to say the least, given how wonderfully shot and crowd-pleasing the whole thing is - thankfully, it's helmed by Mortensen's turn as Ben, and when he delivers a eulogy and has his inevitable long dark night of the soul, there's a real poignancy to the moral struggle within - and that's solely testament to Mortensen's presence on the screen.

Otherwise, this culture clash dramedy feels like a hollow experience that revels in its absurdity and trades on a caricature of happy / sad to achieve its emotionally manipulative aims.

Notes on Blindness: NZIFF Review

Notes on Blindness: NZIFF Review


If there's perhaps an irony that a film about blindness has committed some of the most beautiful and evocative imagery to celluloid, then Notes on Blindness would do well to embrace the irony.

After years of failing sight, Birmingham professor of theology John Hull became completely blind in 1983 and began keeping an audio diary. The ethos behind that was his singular belief that if he didn't understand blindness it would defeat him.

Using Hull's original tapes as well as interview material and with actors lip synching the tapes and taking part in re-enactments, the BBC Storyville strand documentary helmed by filmmakers Peter Middleton and James Spinney is simply put, eloquently mind-blowingly sensual (and has shades of the reflective nature of Terence Malick's Tree of Life).

It helps the source material from Hull is both insightful and honest, with aching admissions that he's begun to forget what his wife looked like, or places from his childhood are fading, as well as the ultimately depressing feeling of being unable to see his new-born children or hearing their cries of delight at Christmas without any visual context.

It's these tacit admissions that begin to give a view of Hull's mind's eye and the world within. But by using hauntingly lyrical imagery that serves as memory or snapshots thereof, what Spinney and Middleton have done in this eye opening film is to commit to celluloid something inspiring and in many ways, a visual representation of what you always imagine life will look like when it apparently flashes before your eyes before you pass.

Past recollections loop in and out, images of eyes close up and simple images of grass blowing in a field unencumbered by anything other than sound show an ingenuity in translating the material and helping inspire others. It's all held in by a wall of sound that emanates from the screen that breathes extra life to the world within.


While acceptance for Hull himself gradually brings clarity of vision and purpose, the filmmakers bring life to a world many of us would hope never to experience and an empathy to those who already do - it's bravura stuff, stylishly and simplistically set in motion.

In one scene, Hull reveals how standing by his home's front door and listening to the rain gives contours to the world around him and how he wishes there could be rain inside a house so he had ideas of depth and a sense of dimension. The following shots of rain pouring within are almost transcendant in their beauty and ingenious in their execution. (It helps the source material is so eloquent and thoughtful as you'd expect of a professor, but not once does it ever wallow in pity, offering a painfully intuitive view into the world of Hull and those around him).

Lyrical and insightful, honest and heart-aching in equal parts, Notes on Blindness is handled with sensitivity, with visual aplomb and with such shrewd astuteness that it's ultimately profoundly moving.

Newstalk ZB Review - Star Trek Beyond, Swiss Army Man and 10 Cloverfield Lane

Newstalk ZB Review - Star Trek Beyond, Swiss Army Man and 10 Cloverfield Lane


This morning on ZB with Jack Tame, I took a look at the new Star Trek film, took a break from the New Zealand International Film Festival to talk Swiss Army Man and talked one of the year's best in 10 Cloverfield Lane.

Take a listen below:




http://www.newstalkzb.co.nz/on-air/saturday-morning-with-jack-tame/audio/darren-bevan-star-trek-beyond-swiss-army-man/

NZIFF: NZ's Best Jury Announced

NZIFF: NZ's Best Jury Announced



NZ’s Best Jury Announced
The New Zealand International Film Festival (NZIFF) today announced producer Carthew Neal and author Emily Perkins will join the jury of NZIFF’s 2016 New Zealand’s Best Short Film Competition.
Carthew Neal and Emily Perkins will join Buffy McKinnon, representative for Madman Entertainment, to judge six short films selected by Lee Tamahori, at a public screening of New Zealand’s Best 2016 in Auckland on Saturday 23 July.
“The competition is now in its fifth year and we’re pleased to continue a diverse jury line-up for the New Zealand’s Best competition. Emily Perkins’ experience spans both the literary and film worlds with her great success as an author and her recent work in adapting Eleanor Catton’s novel for the big screen. Carthew Neal’s box office success with Hunt for the Wilderpeople makes him one of the most sought after producers in the industry. We look forward to their individual contributions to the judging task at hand in selecting New Zealand’s Best for 2016,” says NZIFF Director Bill Gosden.
The jury will select the winner of the $5,000 Madman Entertainment Jury Prize, while a $3,000 Wallace Friends of the Civic Award will be awarded by donors the Wallace Foundation and Wallace Media Ltd, to the film or contributor to a film they deem to merit special recognition. (The King, supported by Wallace Media, is not eligible for this prize.)
The winners will be announced at the closing night event of the Auckland leg of NZIFF. The six finalists are Spring Jam (dir: Ned Wenlock), Cradle (dir: Damon Duncan), Wait (dir: Yamin Tun),Shmeat (dir: Matasila Freshwater), Judgment Tavern (dir: Dean Hewison), and The King (dir: Ursula Grace Williams).
Guest selector and international filmmaker Lee Tamahori selected the six finalists from a shortlist of 12. Festival programmers Bill Gosden and Michael McDonnell viewed 81 entries to prepare the shortlist.
The New Zealand’s Best competition also includes an Audience award. Audiences in Auckland and Wellington will be asked to vote for their favourite, with the winner taking home 25% of the box office from the Festival screenings in the four main centres – in 2015 valued at $4,800.

About Emily Perkins
Emily Perkins is the author of four novels, including Novel About My Wife, and a collection of short stories, Not Her Real Name. Her short stories have appeared in various anthologies. She teaches creative writing at The University of Auckland, and hosted TVNZ7’s book programme The Good Word. Emily worked with Alison Maclean to adapt Eleanor Catton’s The Rehearsal for the screen. The Rehearsal will have its world premiere at NZIFF 2016.

About Buffy McKinnon
Buffy has been an integral part of the Madman Theatrical Sales team for the last three years. Buffy has worked on the New Zealand theatrical releases including That Sugar Film, What We Do in The Shadows, The Dark Horse and The Deadlands. Most recently she was part of the highly successful distribution partnership between Madman and Piki Films on Hunt for the Wilderpeople, now the highest grossing New Zealand film of all time. Prior to Madman Buffy obtained a Bachelor of Arts degree in Film from the University of Canterbury.

About Carthew Neal
Carthew is a well-respected television, film and interactive producer, who formed Piki Films with filmmakers Taika Waititi and Leanne Saunders.  Neal has just produced Taika Waitit’s Hunt for the Wilderpeople and feature documentary, Tickled both premiered at Sundance 2016. Tickled screened at NZIFF Autumn Events 2016 and is now on release in the USA. 

NZ films at NZIFF are proudly supported by Resene. NZIFF is run by a charitable trust and encourages lively interactions between films, filmmakers and New Zealand audiences in 13 towns and cities around the country. NZIFF 2016 dates are:

Auckland 14 – 31 July
Wellington 22 July – 8 August
Christchurch 28 July – 14 August
Dunedin 4 – 21 August
Further regional dates, along with ticketing information can be found at nziff.co.nz

The First, The Last: NZIFF Review

The First, The Last: NZIFF Review


If it’s answers you’re after then the slightly surreal Belgian film The First, the Last is not the place to find them.

Two bounty hunters Cochise and Gilou (Albert Dupontel and Bouli Lanners) are given the job of tracking down a cellphone. World weary but determined to take one last job, Gilou has health matters on his mind.

However, their road trip is made worse by the fact those who’ve taken the phone aren’t leaving it switched on to encourage tracking. The young duo, Willy and Esther, believe the world is about to end, and have a mission of their own – but their route is blocked by criminal gangs all after the same thing.

And waters are further muddied by the appearance of a bedraggled wanderer by the name of Jesus…

Enigmatic to a fault, and aesthetically grubby and grimy, The First, The Last is a crime road trip flick that revels in its visuals. Grubby and grimy, this is a world that’s complicated by stormy skies permanently rolling overhead.

In one of the great brooding cinematic shots, Esther and Willy head along a bridge shot from afar, looking like two dots peddling furiously against an inevitable apocalypse. It’s a bravura big screen shot that stands out among the obtuse, dry wry wit that pervades part of it.

Allusions more than answers are forthcoming; in one of the film’s great ambiguities, Jesus is shot clean through the hand (Stigmata anyone?) but director Bouli Lanners prefers to leave the image open to interpretation, infusing the whole thing with an obfuscating sheen that’s both intoxicating and infuriating in equal measures.

Max Von Sydow enlightens proceedings at a funeral, and provides the film's one moment of heartfelt earnestness as he sings as a body's buried. There's plenty of imagery and moments to revel in here as this No country for older men rumbles menacingly on.

Existential chat, a bad guy who resembles Anton Chigurh, end of the world iconography – they’re all here for the interpretation and for a festival experience that’s more about what the audience wish to take away from it, rather than what easy answers present themselves.

Friday, 22 July 2016

2K Reveals New Mafia III “Death Suits You” Live Action Trailer

2K Reveals New Mafia III “Death Suits You” Live Action Trailer



2K and Hangar 13 today revealed a new live action trailer for Mafia III, titled “Death Suits You,” featuring an intense new look at Lincoln Clay’s world of New Bordeaux and the enemies he faces.

As the New Bordeaux Police continue working around the clock to end his bloody turf war, the legend of Lincoln Clay continues to grow. Even outside of “Bourbon City” people want to learn more about the man declaring all-out war against the mob in Mafia III.

This short cinematic look at Lincoln’s world examines what he has endured. The Mafia III – Death Suits You trailer will be featured at the San Diego Comic Con as part of a Screen Junkies Live Movie Fight Panel, featuring celebrity actor/director Kevin Smith.

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