The Revelation Perth International Film Festival is back for 2018! Screening from July 5-18, this is your chance to check out the latest and greatest in independent cinema. Featuring films and documentaries from Australia and all over the world, here’s a snippet of what’s on offer! Stay tuned for another sneak peak next week!
Antonio Lopez 1970: Sex, Fashion and Disco
Sex, fashion and disco – need we say anymore?
Sex, Fashion and Disco chronicles the crazy, wild ride that was fashion illustrator Antonio Lopez’s career. The documentary features interviews from some heavyweights in the fashion and film industry such as Grace Coddington (American Vogue creative director) and Jessica Lange (American Horror Story), as well as wild stories about Karl Lagerfield, Jerry Hall, Grace Jones and Andy Warhol.
Tales are told, and old times are reminisced upon with joy and laughter from an era when sexuality was an experiment and drugs went hand-in-hand with the fashion industry. There are some poignant moments, such as the racism issue in America that drove Lopez away in the late 60’s, and the impact that the AIDs epidemic had on the fashion industry that brought about a sense of seriousness to the documentary, but director James Crump doesn’t delve too deeply into these matters.
Sex, Fashion and Disco is intended to take the audience on a mad trip back in time to a period when irresponsibility was to be favoured, and the fashion industry was at its peak, and it certainly achieves this.
More Human Than Human
What does it mean to live in the age of intelligent machines? Two documentarians set out to find out.
For over a century, science-fiction cinema has heralded a future populated with synthetic robots and artificial intelligence, from Fritz Lang’s Metropolis to Denis Villeneuve’s Blade Runner 2049. In their 78-minute documentary More Human Than Human, filmmakers Tommy Pallotta and Femke Wolting attempt to condense this abundance of ideas into a single streamlined premise; could a robot replace a filmmaker?
In partnership with a robotics lab, Pallotta and Wolting set to work rigging up a ‘camera bot’ that can read faces, frame its subject and pose questions to the ‘interviewee’, which in this case is Pallotta. In parallel to this, the documentarians scour the globe for case studies relating to the current state of artificial intelligence, conducting interviews and learning more about current innovations in the field.
While this pattern – cutting between case studies and the unfolding lab project – helps to structure the film, the two strands don’t always mesh seamlessly. While the main premise is interesting, it doesn’t have the same pull as the varied experiments that are touched on to flesh out the runtime.
All told, this tidy film has something to say about a wide range of technological marvels, and should make even the most ardent technophile feel a little on edge next time they boot up their smartphone or laptop.
Lost Gully Road
A film about a girl on the run, a bag of money, a spiritual entity, some shady side characters and some flickering lights… confused yet?
On the run, Lucy (Adele Perovic) goes into hiding in an isolated house in the middle of a forest. As the days trickle by, she quickly descends into boredom, with her only form of entertainment coming from the once a day phone call from her sister to give her an update on the “situation”. A spiritual entity soon makes its presence known, further adding to Lucy’s paranoia and the feeling of isolation.
This spiritual entity is portrayed in a very similar way to Olivier Assayas 2016’s Personal Shopper, and is further emphasised through flickering lights and voyeuristic POV shots, but it doesn’t quite achieve the thrill or scariness that I think was intended.
Perovic does well with the material provided, particularly during her interactions with the spiritual entity and the physicality she brings to those scenes. Without giving too much more away, director Donna McRae has attempted to use Lost Gully Road to comment on the female experience in a male-dominated world, and the issue of consent. Unfortunately for me, the film doesn’t quite hit the mark, but I can understand what McRae was trying to achieve.
An Australian documentarian goes looking for shocking material of old. Surprisingly, she’s upset when she’s shocked by it…
[Censored] is the hour-long final product of Sari Braithwaite’s delve into Canberra’s extensive archive of clips cut from international films by Australian censors between 1951 and 1978. She presents her findings as an essay documentary and think-piece, slicing thematically linked clips together and intercutting with the rules and regulations of the Australian Censorship Board, commentating with her own opinion on what was deemed unacceptable for audiences back in the day, and what would surely pass without the bat of an eyelash in more modern, unshackled times.
Cinephiles and historians will no doubt revel in the mouth-watering smorgasbord of never-before-seen clips surgically removed from hundreds of films of the era, ranging from timeless classics like Ingmar Bergman’s Persona, to lesser-known gems and even a (potentially) educational video featuring a childbirth. Braithwaite states upon commencing that her goal was to liberate these filmmakers’ artistic visions from the conservative fuddy-duddies intent on muffling creativity. At first, she is true to her word, highlighting the ridiculousness of cutting simple scenes of kisses between couples and verbal arguments that drop a few F-bombs. Soon though, she begins to question the necessity of sex scenes, nudity, and violence – in particular violence against women – and it is up to us as an audience to decide whether we agree with her more contemporary opinion, or if we can appreciate these clips as a time capsule in the context of their films and period.
Personally, I found Braithwaite’s approach decidedly closed-minded and loaded with bias, but no doubt there will be a large crowd who agree with and find poignancy in how off-put she is by the shocking content here. Considering the amount of these taboos we see unabashedly in everything we watch these days, perhaps it’s consuming so much distressing media at once that had Braithwaite sympathising with the censors. However you feel about the topic [Censored] is certainly provocative in one way or the other.
Images courtesy of Revelation Perth International Film Festival 2018