Free Fire – Revelation Perth International Film Festival

Ben Wheatley tries his hand at aping Reservoir Dogs to riotous effect.

⭐ ⭐ ⭐ ⭐
Rhys Graeme-Drury

One of the most dexterous and consistently interesting directors to emerge from Britain in the last decade, Ben Wheatley’s latest film Free Fire sees the filmmaker transition into old fashioned shoot ‘em up territory for a gleeful celebration of gunplay.

Set in Boston in 1978, Free Fire sees a duo of Irish terrorists, Chris (Cillian Murphy) and Frank (Michael Smiley), employ the help of local fixers Justine (Brie Larson) and Ord (Armie Hammer) in organising a secretive docklands exchange with wildly unpredictable kingpin Vernon (Sharlto Copley).

Naturally, the deal soon goes south as hired goons on both sides decide to settle a standing grudge in the midst of an illegal arms deal. What follows is a protracted melee of ricochets, expletives and blood-soaked shoulder pads. Wheatley and his charismatic cast wholeheartedly embrace the zaniness of the premise as they fling dust, shrapnel and sly barbs across the screen. Copley is the star of the show, his larger-than-life character an absolute hoot as he tries (and fails) to hit on Justine and weasel his way out of getting a slug to the head.

Larson, Murphy and Hammer are also excellent; the irreverence with which they approach the chaos never undercuts the serious moments and everything knits together for an effective character-driven 90-minute actioner, even when the bare bones plot is scarcely enough to keep the thing anchored during the second half.

Unquestionably light on plot, Free Fire instead chooses to focus on genuinely enthralling action. The editing, cinematography and sound mixing all work in tandem to create something rather special. Wheatley displays an unrivalled aptitude for staging that makes Free Fire easy to follow and enormously engaging to boot.

Free Fire is screening at Revelation Film Festival (6-19 July)

Image courtesy of Sony Pictures & Revelation Film Festival

Wiener-Dog – Revelation Perth International Film Festival

An impressive cast doesn’t save Todd Solondz from drowning along with his wiener-dog.


Zachary Cruz-Tan

I don’t know Todd Solondz nor am I acquainted with his body of work, but after seeing Wiener-Dog, his latest black comedy about a wandering dachshund, I believe a successful career is still far ahead of him. This is an awkward, at times frustrating film in which no one utters a single line of credible dialogue and every performance – except Danny DeVito’s – is tuned to the frequency of a shock therapy patient.

DeVito plays Dave Schmerz, a failed screenwriter working for a prestigious film school. His story is one of numerous, vaguely interconnected tales about different bunches of people and, of course, a wiener-dog that somehow finds its way into their care. “A dachshund passes from oddball owner to oddball owner, whose radically dysfunctional lives are all impacted by the pooch”, states the film’s IMDb synopsis, and yet I don’t recall the dog doing a single thing of value except providing the film with an excruciatingly overdrawn shot of faeces. Its owners could’ve been lugging around an old toilet and it wouldn’t have made a difference.

Sad, then, that the movie is called Wiener-Dog. Solondz, who wrote and directed, must feel affection for canines, but it is lost in his screenplay, which frowns upon them ambivalently with a truly disturbing conclusion, and Julie Delpy having to constantly remind her son that “Dogs are not humans!”. Everyone’s so stunted by the strange dialogue and bizarre staging that the entire picture becomes a distraction of itself. It might also be the only movie under 90 minutes to have an intermission. Gives us the perfect opportunity to walk out, I suppose.

Wiener-Dog is screening at Revelation Film Festival (6-19 July) 

Image courtesy of Transmission Films & Revelation Film Festival

Top Knot Detective – Revelation Perth International Film Festival

Riotously funny, Top Knot Detective is what happens when you watch too much late-night SBS.

⭐ ⭐ ⭐ ⭐
Michael Philp 

It’s hard to describe Top Knot Detective to the uninitiated. Its list of influences includes Power Rangers, midnight SBS insanity and legendarily bad films like The Room. Imagine a mockumentary retrospective on Kung Fury, and you’ll have some grasp of what you’re in for. If those things don’t float your boat, the exit is to your right. For everyone else, Top Knot Detective is brilliant and it deserves to be on your must-see list.

Top Knot details the rise and fall of fictional 90’s Japanese TV show Ronin Suiri Tentai (Deductive Reasoning Ronin), zeroing in on the show’s creator/director/star/writer Takashi Tawagoto (Toshi Okuzaki), who is described as “Errol Flynn without the STD’s or the talent”. Through interviews with his co-stars and the show’s crew, the film builds a fascinating and hilarious portrait of a young man swept up in the creative process.

There are so many things to love about Top Knot. The number of jokes per minute is phenomenal, and just about each one lands perfectly. On top of that, the level of care on display is remarkable. From the acting to the background details, everything around the show is on-point. Even the tie-in advertisements and archive photos feel beautifully real, and you’ll often forget that everything you’re seeing has come directly from the minds of directors Aaron McCann and Dominic Pearce. Top Knot Detective isn’t just a send-up of cheap, over the top Japanese cinema, it’s McCann and Pearce’s love letter to the genre. Theirs is a world of giant penis monsters, talk shows with cats, and gloriously ridiculous (and ridiculously gory) action scenes. If that sentence interests you, Top Knot Detective cannot be recommended enough.

Top Knot Detective is screening at Revelation Film Festival (6-19 July)

Image courtesy of Special Broadcasting Service (SBS) and Revelation Film Festival 

Descent into the Maelstrom – Revelation Perth International Film Festival

Descent into the Malestrom is a high energy journey into the success, and failings, of 70’s Aussie rock’n’roll band Radio Birdman.

⭐ ⭐ ⭐
Elle Cahill 

In 1974 in Sydney, a young American man named Deniz Tek formed the band Radio Birdman with Rob Younger. Following the recruitment of four other members, Radio Birdman went on to cause a stir in the Australian music scene, with their unconventional take on rock’n’roll and their determination to stay true to their original brand of music. Whilst the band had a short run of success, with the members of the band choosing to part ways in 1978, they became the influence for many mainstream Australian bands.

The genius of Descent into the Maelstrom lies in director Jonathan Sequeira’s complete understanding of the band. There are so many elements at play that are carefully hidden behind the guise of a historical documentary as Sequeira explores the band’s rise to fame. But this documentary offers so much more, and much like the music of Radio Birdman, it refuses to stick to traditional documentary conventions.

The first half of the documentary is littered with wild tales as retold by the band members, now well into their 60’s, and discusses their struggle to be taken seriously in the music scene. There is an incredible archive of footage and photos from Radio Birdman’s performances, which makes up the majority of the visual content for the documentary, but it’s the clever use of storyboard animations that help to fill the gaps in the footage that adds a little extra something, and makes the documentary slightly unusual.

The second half of the documentary takes on a quiet, reflective state as the band are picked up by a label and begin touring internationally in 1977. The more they tour, the more the cracks in the group become irreparable, and this is supported with a definite change in mood in the present-day interviews as the band members become more solemn and disgruntled about how Radio Birdman ended.

Descent into the Maelstrom does well in immersing the audience into this world of rock’n’roll, but there’s also a certain amount of assumed knowledge that is expected of the audience. Knowledge of the state of the Australian music scene at this time is helpful, as well as knowing a bit about the punk scene, both on an international scale, and on a more local, Australian scale. There’s a lot of reminiscing about forgotten bands and pubs that no longer exist, which can leave you missing the significance of these details if you’re just that bit too young.

Descent into the Maelstrom, much like Radio Birdman’s music and band ethos, is raw, gritty and unorthodox, but it’s the honest portrayal of the highs and lows of Radio Birdman’s short rise to fame, and subsequent conflict within the band, that makes this documentary so interesting.

Descent into the Maelstrom is screening at Revelation Film Festival (6-19 July)

Image courtesy of Umbrella Entertainment & Revelation Film Festival

Watch The Sunset – Revelation Perth International Film Festival

Watch the Sunset is a remarkable achievement that maintains a gripping momentum… almost until the end.

⭐ ⭐ ⭐ ½
Michael Philp

The one-take genre of drama is small; its most oft-cited works being Victoria and Russian Ark. It’s a format that lends itself to intense realism, but is also hampered by logistical constraints. Watch the Sunset, filmed over the course of an afternoon in Kerang, Victoria, delivers the former in spades, but fails to overcome the trappings of its genre.

The film opens with a brief montage of documentary footage on the drug ice, giving context to the film’s first scene: a man, Danny (Tristan Barr), driving a devastated young woman, Charis (Zia Zantis-Vinycomb) to a motel and locking her in a room. From here, Danny abandons her to attempt to reconnect with his ex-wife and daughter. For good reasons, the former doesn’t want a bar of him, and her reservations are proven legitimate when things take a turn for the worst.

For the vast majority of the film, the camera sticks to Danny like a small child, allowing the audience a stomach-churning view of the proceedings. There is a remarkable level of authenticity on display: every actor nails the realism and depth necessary to breathe life into the single take, and the camera is there at every step to unflinchingly capture their performances. Better still, it manages to pull off the impressionistic angle just as well, with several clever uses of reflection elevating Damien E. Lipp’s cinematography.

Sadly, the film goes off the rails near the end. A brief monologue on “what separates us from the animals” comes off as egregiously empty philosophising, and the film never recovers enough to deliver the rousing finale you want. If this were a normal film, the editing bay might have caught that and cut the scene down, but the single-take genre allows no such leeway.

Watch the Sunset is a powerful film: its performances are devastatingly real, and its achievements are awe-inspiring. Every member of the crew deserves commendation; they have pulled off one of cinema’s most daring feats with aplomb, producing a film that will keep you on the edge of your seat almost until the very end.

Watch the Sunset is screening at Revelation Film Festival (6-19 July) 

Image courtesy of BarrLipp Productions and Revelation Film Festival 

Revelation Film Festival -Get Your Shorts On!

Revelation Film Festival crowd-pleaser Get Your Shorts On! came to town last week. Here’s the lowdown on the best of the best in short filmmaking in WA right now.

Josip Knezevic

Get Your Shorts On! encompasses the very best of what Perth has to offer in short films, and this year eight spectacular productions screened at Luna Leederville to showcase the creativity and skill of our local filmmakers. Of these, there were three standouts that I’d like to single out for Perth’s most promising talent.

3. Normal People
Producer:
Jenna Dimitrijevic
Director:
James Pontifex

Contrary to its title, this RAW Nerve funded short is anything but normal. An unfortunate party goer misreads an invitation and rocks up dressed as a panda only to discovers she is the only one in a costume. That is until she meets a man in a penguin suit…

Normal People is certainly an original piece of filmmaking, with some nice moments of quirky humour. My only disappointment is that it only runs for 7 minutes. Given more time on screen, I think these two loveable characters could have been fleshed out even more. Additionally, the concept is loaded with comedic opportunity that could have been further explored in a longer version… So the only question is, when do we get to see the feature film, guys?

2. Outline
Producer: Jess Parker
Director: Cody Cameron-Brown

Successfully funded by Pozible, Outline tells the story of a grieving young artist who seeks redemption in an unlikely place. She uses her craft to recreate her fallen friend in remembrance of her spirit and by the end of the film, you truly get the sense that this was an incredibly personal film for its creators. A simple idea that works marvelously on screen, I thoroughly enjoyed this 6-minute short with its beautiful artistry and emotional touches. Clearly others are being won over as well; the short was selected to appear in the Short Film Corner at Cannes Film Festival earlier this year.

1. The Shapes: Cool Rock Video and I’m A Genius
Producer: Lauren Elliott
Director: Matt Lovkis & Henry Inglis

Hot damn, this was awesome! The Shapes: Cool Rock Video and I’m A Genius is my favourite from this year’s Get Your Shorts On! selection. Yes, on a technical level, this 3-minute animation is fantastically well crafted, but what puts this project in first place is it’s success as a musical. Its catchy beats are filled with ridiculously self-aware, funny lyrics; on my way out of the screening I could still hear the addictive songs in my head. With a joyous colour palette and eye-catching transitions, this short and sweet animation is a must watch!

 

Revelation Perth International Film Festival – Part 2

If we could bend time and space by driving around in a DeLorean, then we would go back and see everything that Revelation has to offer! But sadly, as we can’t be in multiple places at once, we can only bring you a couple more of the freaky and fantastical films screening around Perth. It all wraps up this weekend, so get in before it’s all over, red rover!

Der Bunker

Nikias Chryssos invites us into his madhouse, which is little more than a bunker in the German woods, filled with his nightmares.

⭐ ⭐ ⭐ ½
Zachary Cruz-Tan

07 July - Revelation FF Der Bunker

I am fairly certain – no, I am certain that this is the first movie I’ve seen in which two grown men breastfeed from a woman who claims to have an evil alien living inside her leg. You can’t make this stuff up. The alien speaks to the woman (Oona von Maydell) like The Exorcist‘s Regan MacNeil through a vocoder and instructs that her son, Klaus (Daniel Fripan), be taught the ways of manhood. Meanwhile, her husband (David Scheller) sports a lively moustache, and their guest, a visiting student (Pit Bukowski), has to watch as his three maniacal hosts turn their home into the devil’s playground.

Der Bunker, directed by first-timer Nikias Chryssos, is an absurd extrapolation of a very serious topic. Parents want the best for their kids. But what happens when they want their German son to become president of the United States? Is that something Klaus can achieve in his lifetime, or in any German’s lifetime? Do they not see that he’s an eight-year-old boy who looks thirty-five, and that the alien leg of his mother will probably follow him to America and become its own reality TV show? These questions whizzed through my mind as I sat through Der Bunker, but I realise they shouldn’t be asked, because this is a movie that is completely unhinged from notions of reality. It exists purely within the inexplicable confines of the titular bunker, and in such a place, rules are boundless.

But movies need rules, don’t they? We need rules, or else we lose track of vision. Even The Lobster (2015), which ran away with its crazy ideas about love and the future, established for itself rules to live by, and it worked. Der Bunker is too wild for its own good. It lacks control, and has an ending that’s too tame for the abstract madness it introduces in the first two acts. I won’t spoil anything, but I wanted more madness. I wanted to be taken apart and put back together wrongly, so that nothing truly made sense anymore.

Der Bunker screens at Cinema Paradiso Sunday 17 July


Patrick’s Day

Perhaps Patrick’s Day has something challenging to say about mental illness – shame it’s an unpleasant experience you’ll want to put out of your mind immediately afterwards.

⭐ ⭐
Corey Hogan

07 July - Revelation FF Patricks Day

On his twenty-sixth birthday, which happens to fall on St. Patrick’s Day, a schizophrenic young man named Patrick (Moe Dunford) escapes the clutches of his overbearing and obsessive mother Maura (Kerry Fox) during a festival in Dublin. Patrick crosses paths with Karen (Catherine Walker), a suicidal air-hostess, who – on her last planned night of being alive – invites Patrick up to her hotel room to take his virginity. Patrick falls in love, and Karen begins to reconsider her decision, until Maura conspires with an eccentric local cop (Philip Jackson) to convince Patrick that Karen was simply a figment of his deluded mind.

It’s easy to see what writer/director Terry McMahon (Charlie Casanova) thinks he has created; a fresh, unflinching honest portrayal of mental illness that evades the usual trappings associated with the genre. There are hints of these at times, but in reality Patrick’s Day is a mostly hackneyed and unremarkable disability drama. A potentially ripe and well-intentioned idea drowned in its unconvincing execution, McMahon’s film has an unshakable sense poignancy that is often tempting to believe, but there are just too many rough edges and disharmonic parts to create a valuable whole.

The film’s most alienating aspect is its colossal and frequent shifts in mood and tone, which come across (perhaps intentionally, but ineffectively) as schizophrenic in themselves. Matching this is an equally inconsistent soundtrack, skipping from raucously loud Irish shanties to an obnoxiously pounding score.

The cast at least do their best with the wholly unlikable characters they’re given, especially Dunford, who remains believable even as McMahon is increasingly cruel and borderline distasteful to his lead. The cynicism and contempt really sets in when Patrick’s Day crescendos in a harrowing electro-shock sequence copied and pasted directly from Requiem for a Dream, then does a complete 180 degree turn in favour of an outlandishly optimistic outcome. If you don’t feel cheated, you’ll at least be disoriented enough to wonder if you’ve contracted schizophrenia yourself.

Patrick’s Day screens at Luna On SX on Saturday July 16


Images courtesy of Revelation Perth International Film Festival 

Revelation Perth International Film Festival – Part 1

It’s that time of year again! Get ready for the weird and the wonderful at this year’s Revelation Perth International Film Festival. Here’s a snippet of what’s on offer!

High-Rise

Come for a naked Tom Hiddleston, stay for the heavy-handed commentary on capitalism.

⭐ ⭐ ⭐ ⭐
Rhys Graeme-Drury

07 July - Revelation FF High-Rise

High-Rise stars Tom Hiddleston as Robert Laing, a dapper middle-class doctor who moves onto the 25th floor of a cutting-edge apartment block located on the outskirts of London. Laing soon finds himself trapped between a rock and a hard place; you see, the building is a rather blunt allegory for society, with the wealthy upper class sitting on top and the poorer have-nots struggling to escape the rigid social hierarchy. Like chickens trapped inside a coop, the shit travels downward and resentment soon begins to bloom amongst those unfortunate enough to be caught in its path.

Sitting somewhere between Snowpiercer and that episode of Community where the whole campus devolves into a parody of a futuristic dystopia, Ben Wheatley’s High-Rise is a complex mixture of both shocking violence and menacing satire.

The cinematography from Laurie Ross is gorgeous; he perfectly captures the unsettling contrast of filth and glamour through some fantastically dark and macabre compositions. Along with Wheatley’s direction and Amy Jump’s devilish screenplay, the sick, twisted tone of JG Ballard’s 1975 novel is surprisingly well replicated on the big screen. The lavish production design from Mark Tildesley ensures that High-Rise is one of those rare films where the physical setting is its story; each floor and room has a distinctive texture that informs the audience of its wicked occupants.

The film does fall into some unfavourable trappings at times, such as the use of ‘sexposition’ to hold our attention during prolonged periods of set-up. Except, it isn’t really warranted – with a central concept as compelling as this, the only purpose it serves is to luridly flash Hiddleston’s perfectly sculpted bum at the camera.

Hiddleston tackles the mayhem with the same sincerity one would usually reserve for Shakespeare, whether he’s making small talk over cocktails or spit roasting a dog on his balcony. Sienna Miller and Elisabeth Moss are great as two of Laing’s neighbours, whilst Luke Evans’ violent upriser Wilder is suitably unhinged and unpredictable.

It’s hard to define the appeal of High-Rise; the metaphor is a little blunt and the acting often strays into goofiness, but much like the aforementioned Snowpiercer, its technical prowess is too rich and gorgeous to ignore. Not everyone will derive enjoyment from Wheatley’s potent mixture of skin-crawling violence and writhing sex orgies, but the confident lead performance from Hiddleston and the sheer volume of colour and atmosphere that the production exudes will enchant art-house audiences if nothing else.

High-Rise screens at Luna On SX Wednesday 13 July & Luna Leederville 16 July 


Demolition

OK, seriously, has anyone else noticed how hard Jake Gyllenhaal has been trying for an Oscar nomination lately?

⭐ ⭐ ⭐ ½
Josip Knezevic 

07 July - Revelation FF Demolition

Demolition is yet another great example of the subtleties Gyllenhaal can bring to any performance. While his latest film might not be on the same level as Nightcrawler or Prisoners, it still provides a very worthy character study.

Following the life of Davis Mitchell (Gyllenhall), the story takes an introspective look into how an extraordinarily successful business man deals with grief. Director Jean-Marc Vallee, who brought us the great Dallas Buyers Club, sets Davis up with a romantic counterpart in a mysterious young woman (Naomi Watts) and together things begin to unfold. One of the strangest films I’ve seen of late, Demolition is an interesting blend of drama, comedy and romance, but I’m not sure it works as well as it potentially could.

If it weren’t for the powerhouse performances of Gyllenhaal and Watts, with the welcome addition of Chris Cooper in a supporting role, then I doubt I would have been able to stomach the abrupt shifts in tone throughout. These shifts are so frequent that it feels like watching the longest ever game of ping pong personified as a movie. One moment there’s a hilarious and uplifting scene, then the next spirals into a downfall of dramas. I was left unsure of what to think, and more importantly how to feel.

Vallee does a good job of highlighting the instability of Davis, synonymous with the title, as he becomes fixated on destroying objects around in him in attempt to learn how they were made. It’s a clear metaphor of how wherever he goes, he is tearing relationships apart due to his inability to connect with his emotions but it feels like that message isn’t reinforced enough.

It’s quite the puzzle but at least it’s a puzzle that’s still enjoyable to watch. There are some great moments of humour in this film even if they feel inappropriately placed. My best summary of trying to encompass what this movie represents is that of a famous stadium being purposefully demolished to make way for something else. It’s meant to be melancholic but at the same time you can’t help but smile in its destruction and in the end that’s what the film’s title is trying to allure towards. If you like Gyllenhall or a quirky character study, go see Demolition.

Demolition screens at Luna Leederville Wednesday 13 July 


Images courtesy of Revelation Perth International Film Festival 

Quick Picks – Revelation Perth International Film Festival – Feature Films

What Lola Wants

Fast, fun, and ferocious – What Lola Wants may just be Revelation Perth International Film Festival 2015’s boldest and brightest feature.

⭐ ⭐ ⭐ ⭐ ½
Review by Tom Munday

Sophie Lowe in What Lola Wants

Sophie Lowe in What Lola Wants

Celebrity teenager Lola Franklin (Sophie Lowe) has run away from her Beverley Hills lifestyle into the wild, wild west. Believing she has been kidnapped, her parents stamp down a $1 million reward for her safe return. Lola meets rebellious, pickpocketing loner Marlo (Beau Knapp) in a diner, convinced he is the man of her dreams. Marlo, being hunted by Mama (Dale Dickey), is already neck-deep in trouble. The destructive duo heads out on the road, taking down anyone in his or her path. But which reward will Marlo choose – the girl or the money?

What Lola Wants is one of the biggest surprises of 2015. This crime-thriller is the pitch-perfect example of less is more – relying on character and tone over anything else. Australian writer/director Rupert Glasson injects his frenzying style onto every page and frame. Attributing to Quentin Tarantino and Sam Peckinpah, every plot-point, twist, and line of dialogue is drenched in pulp and viscera. Told from its lead’s perspective, it’s tough, sexy atmosphere sparks a thrilling pace. Glasson’s latest venture harkens back to some of Hollywood’s biggest middle-finger thrillers like Natural Born Killers and Badlands.

Glasson’s hyperkinetic, frivolous visuals bolster What Lola Wants’ simple-yet-effective narrative. Its lurid cinematography flaunts the American Heartland’s glorious scenic vistas. In addition, its scintillating score pays tribute to the dark, disturbing heart of the western genre. Indeed, touches including an animated credits sequences and comic-book-esque scene transitions deliver multiple surprises. Most importantly, the performances take charge from the outset – with Lowe and Knapp’s chemistry establishing their significant talents.

Bolstered by style and substance, What Lola Wants has more brains, brawn, and heart than anything 2015’s big-budget slate has offered thus far.

Screening:
Sat 11th July, 6:45pm, Luna Leederville


Alvin’s Harmonious World of Opposites

 Alvin’s Harmonious World of Opposites, though not for the faint-hearted, is a unique and mind-altering experimental-drama/black-comedy.

⭐ ⭐ ⭐ ⭐
Review by Tom Munday 

Teik Kim Pok in Alvin’s Harmonious World Of Opposites

The plot of Alvin’s Harmonious World of Opposites is, inexplicably, more intricate and perplexing than its title. Alvin (Teik Kim Pok) has not left the confines of his one-bedroom apartment for over 18 months. The agoraphobic nobody lives only with bizarre collections of toy pandas, Prince Charles and Princess Diana memorabilia, and vintage flour containers. Human interactions include obnoxious neighbour Virginia (Vashti Hughes) and video chats with his boss Angela (Allis Logan). With work and home-life difficulties building up, Alvin becomes paranoid after brown ooze begins dripping through the ceiling.

Writer/director Platon Theodoris’ feature debut is a unique and nightmarish examination of the Average Joe. His project meddles with several genres, concepts, and themes, with the first-two thirds highlighting the long-standing tedium of Alvin’s decaying existence. Sticking with Alvin inside his claustrophobic abode, the narrative’s repetitiveness and peculiarity illicit a unique physical, mental, and spiritual response. Similarly to David Lynch and David Cronenberg, Theodoris’ writing and directorial ticks put the audience on edge throughout its steady 73-minute run-time.

Alvin’s Harmonious World of Opposites’ final third becomes a Rubik’s cube-level obstacle course through awe-inspiring visuals and intricate ideas. Delving into Alvin’s baffling subconscious, Theodoris’ project switches valiantly from black comedy to existential angst. Scenic vistas and a stirring score establish the dramedy’s discussion of introspection, loneliness, and voyeurism. Pok, carrying every scene, conveys a bevvy of complex emotions with several key facial expressions.

This drama-thriller/black-comedy is a bizarre yet rewarding trip through Alvin’s dreamscape. Theodoris’ feature debut is set to be the “Did you get it?” flick of this year’s Revelation Perth International Film Festival.

Screenings:
Thurs 9th July 8:30pm – Cinema Paradiso
Sat 11th July 3:30pm – Luna Leederville


Plague

Here we go again…Plague is yet another exploration of the decisions we may be faced with if the world was to end in a zombie apocalypse.

⭐ ⭐
Review by Chantall Victor

Scene from Plague

Scene from Plague

Directed by Nick Kozakis and Kosta Ouzas, Australian film Plague aims to present itself as a horror film, but comes off as more of a psychological thriller – at least for the first 20 minutes. From then on it’s all downhill as sadly, the film meets its own death, and decays on the screen before the audience’s eyes for the remainder of its runtime.

Evie (Tegan Crowely) is stuck with a group of survivors in an Australian barn when she is confronted with the difficult decision of whether to stay and wait for her husband (Scott Marcus) – who may have been turned into a zombie – or go with the group in search of safety. Of course, true love abides, and she stays behind, only to encounter an unexpected guest.

I always look forward to an Australian made film because I believe the Australian industry has such potential, but unfortunately, this film will have to be an exception to my rule. Although visually pleasing — thanks to the make-up department, and cinematographer Tim Metherall — the film suffers from a lack of character development, and endless plot holes. At times the story becomes so unconvincing that it’s laughable — think the Australian version of Tommy Wiseau’s The Room – and so many elements are left unexplained. Overall, the aesthetics are just not enough to save this vague zombie flick.

Screening:
Sat 11th, 8:45pm – Luna Leederville


Images courtesy of Revelation Perth International Film Festival, Rupert Glasson, Big Name Studios & Burning Ships Productions