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 

Get Your Shorts On! – Top 3

To mark the end of this year’s Revelation Perth International Film Festival, here’s a selection of my top films from the Get Your Shorts On! screening, which featured six WA-made short films that were each funded by ScreenWest & FTI.

By Courtney Loney

Eighteen years ago, in the basement of Perth jazz venue the Greenwich Club, what is now known today as one of Australia’s most vibrant and eclectic independent film festivals began. This year’s Revelation Perth International Film Festival certainly did not disappoint with screenings held at venues from Leederville through to Fremantle showcasing a wide array of feature films, documentaries and short productions from every country imaginable.

We were lucky enough to check out some of the outstanding films on offer (Quick Picks – Revelation Perth International Film Festival: Feature Films, Quick Picks – Revelation Perth International Film Festival: Documentaries) and last week I was given the opportunity to view some of the greatest short films to be produced in WA in recent years at the regular festival screening category Get Your Shorts On!

Sadly, we will all have to wait until next year to be able to once again have the chance to see so many unique, independent films made both abroad and in our own backyard, but in the meantime, here’s my top 3 short films from the Get Your Shorts On! collection.

3. Setting Them Straight
Director:
Kaleb McKenna
Starring: Brett Dowson, Greg McNeil & Sarah McNeil

In a society that is finally paving the way for legal same sex unions, Setting Them Straight offers an unorthodox angle on sexuality.

As the title suggests Setting Them Straight  follows Josh (Dowson), a young man who reveals to his parents that he is actually straight after living the majority of his life as gay, or as he says “on the spectrum”. While most filmmakers choose to tiptoe around serious subjects, co-writers Kaleb McKenna and Brett Dowson dive in head-on to create a current and satirical story about the absurdity of sexual discrimination.

With the shift in our society’s tolerance in regards to Marriage Equality and Gay Rights, most parents these days are loving and accepting of their children, but judging from Josh’s parents response to the news, maybe they were a little too understanding of his homosexuality… possibly to the point where they actually like him better because of it! His parents – whose on screen chemistry can be thanked to their real life relationship – openly poke holes at their own marriage in the belief that the arrangement itself is flawed.

Setting them Straight was a great audience pleaser, and a nice way to open the Get Your Shorts On! category by challenging the status quo, and sharing a gorgeously over-the-top, yet humorous reaction toward a shift in point of view on a hot social issue.


2. Love In A Disabled Toilet
Director: 
Ruben Pracas
Starring
: Miley Tunnecliffe, Liam Graham and Claudia Cirillo

What do you get when you take an awkward situation, add a dash of sexual tension and top it off with toilet humour…?

Another film that executes such brilliance with its comedic devices is Love in a Disabled Toilet. It’s New Year’s Eve, and everyone seems to be having fun in the club, except for Dana, who is having a terrible time, which only becomes worse when she finds herself stuck in a disabled toilet with her ex-boyfriend and his new girlfriend!

Produced by Jess Black and directed by Ruben Pracas – whom were both nominated for Young Filmmaker of the Year at this year’s WASA awards – this hilarious short film, starring writer/producer Miley Tunnecliffe, mostly takes place within the toilet cubicle. The clever use of the disabled toilet as the transactional context for essentially a Boy-Meets-Ex-Meets-Current-Meets-Ex also acts as a subtle homage to the “Sh!t Happens!” scenario. The walls literally appear to close in on the characters throughout the film creating a deepening claustrophobia, and awkwardness to the unraveling situation.

Each of the three key characters manage to move through a very quick series of emotional and physical changes, and bring out the best in some well-written snappy dialogue that was sure to keep the audience amused. Without spoiling the short film for any future viewers the key relationship twist literally depends on a single word, err, auto-corrected word that is!


1. Dark Whispers
Director: Ngaire Pigram
Starring
: Naomi Pigram

One of the richest and most ambitious films on the program is producer Kelrick Martin’s Dark Whispers – one of three Indigenous dramas from Spear Point Productions at this year’s festival.


Written by Ngaire Pigram, Dark Whispers is the story of an Indigenous woman grieving the death of her two sons who finds solace in the sweet song of the Magpie, or “Burrugarrbuu”. This film is imbued with symbolism of the magpie throughout; while you hear it mentioned in the traditional language, it is also a significant metaphor for the joy and grief experienced by the main character Debbie (Naomi Pigram). With a particular emphasis on sound in this film, one of my favourite scenes is where we hear the warbling call of the magpie in the morning, juxtaposed with images of the smiles of Debbie’s children.

The dreamtime stories credit the magpie with creating the very first sunrise, and perhaps this film holds some extra significance for those who relate deeply to this cultural symbol. The burrugarrbuu’s song is a poignant reminder for the mother of her love for her children, and also of her loss, but also that the world comes alive again every dawn when greeted by the laughing magpie.

With beautiful cinematography, and a heartfelt performance from Naomi Pigram, who was nominated at this year’s WASAs, Dark Whispers is not just telling an important indigenous tale, but is a showcase for the industry, which evidently paints a bright future for all WA Indigenous filmmakers!


Images courtesy of Revelation Perth International Film Festival, Red Mile Stone Productions & Spear Point Productions

 

Quick Picks – Revelation Perth International Film Festival – Documentaries

Parkerville Amphitheatre: Sets, Bugs and Rock N Roll

Parkerville Amphitheatre: Sets, Bugs and Rock N Roll will warm the cockles of any Revelation Perth International Film Festival attendees’ heart this season.

⭐ ⭐ ⭐ ⭐
Review by Tom Munday

Still from trailer for Parkerville Amphitheater - Sets, Bugs and Rock and Roll

Still from trailer for Parkerville Amphitheatre: Sets, Bugs and Rock N Roll

Much-anticipated Western Australian documentary Parkerville Amphitheatre: Sets, Bugs and Rock N Roll tells the overwhelming true story of one of the state and country’s best kept secrets. Opening in 1971, Parkerville Amphitheatre, located within the Shire of Mundaring just outside Perth, was considered a linchpin of Australian music, alternative art, theatre, and community spirit. Despite complaints from the council and neighbours, its founder’s (John Joseph Jones) never-give-up attitude and bright ideas made Parkerville an awe-inspiring landmark. The venue, having closed in 2001, is now a decaying shadow of its former self.

Directors Jenny Crabb and Susan Conte have spent the last several years bringing Parkerville back into the spotlight. Playing at this year’s Revelation Perth International Film Festival, the documentary aims directly at WA’s 40+ arts and entertainment crowd. Fuelled by nostalgia, the project covers everything associated with the venue’s conception. Broken into four parts, it effectively details its development, operation, downfall, and slow, painful destruction. Crabb and Conte’s vision, aided by everyone involved, provides a delicate balance of optimism and poignancy.

Crabb and Conte, restrained by the lack of recording and video footage, give each interviewee free reign. Focusing on John’s wife Derry and eldest son Lawrence, the documentary pays tribute to John’s extraordinary achievements. In addition, interviews with local musicians, theatre buffs, writers, and family friends craft a glorious and unique account of WA’s Woodstock. Now, as Perth’s live music scene is undergoing significant transformations, this documentary speaks directly to the state’s undying determination and artistic ingenuity.

Parkerville is a small production powered by the gargantuan support of Perth’s art and entertainment hub. This relevant and invigorating documentary is a sure-fire Rev. highlight.

Screening:
Sat 11th July, 4pm – Cinema Paradiso
Sun 12th July, 12:00pm – Luna SX


Being Evel

What goes up must come down. Although the basic laws of physics supposedly didn’t apply to legendary motorcycle daredevil Evel Knievel, they had a profound impact upon his life according to this insightful documentary from director Daniel Junge.

⭐ ⭐ ⭐ ½
Review by Rhys Graeme-Drury

Still from Being Evel

Still from Being Evel

Detailing Evel Knievel‘s zero to hero and back again story from humble origins to worldwide stardom, Daniel Junge’s film is an entertaining and well-researched examination of the complex man behind the star-spangled cape whose feats captured the imagination of a generation.

Junge rigidly adheres to a conventional doco template, but his mixture of different storytelling techniques keep the film cruising along at a good pace. A range of interviews with family members (Evel’s wives and children) and celebrity admirers (Johnny Knoxville, Travis Pastrana, Robbie Maddison) flesh out the impact Evel’s exploits had, as well as the legacy he has left behind.

Archive footage of his hare-brained stunts is both exhilarating and confronting; the shocking footage of Evel’s fateful Caesar’s Palace jump where he is tossed across the tarmac like a ragdoll is used for maximum effect.

The narrative does veer dangerously close to unrelenting jingoism in the first half, but Junge ensures that every shade of Evel is covered during the 99-minute runtime. His loveable tearaway image is slowly peeled back to reveal a more sinister and ugly side to the icon; his blatant disregard for authority gradually morphing into arrogance, chronic adultery and borderline insanity.

Being Evel is a warts and all depiction of an American icon, albeit one that does feel tonally uneven at times. Come for the stunts, but stay for the substance.

Screening:
Fri 10th July, 6:30pm – Luna SX
Sun 12th July, 5:15pm – Luna Leederville


Best of Enemies

It’s Buckley vs. Vidal in the verbal match of the century; perhaps history’s most famous and influential televised arguments of deeply intellectual, political and social context. The winner? Television and the media itself…

⭐ ⭐ ⭐ ½
Review by Corey Hogan

Still from Best of Enemies

Still from Best of Enemies

Making its debut at this year’s Revelation Perth International Film Festival is Morgan Neville (20 Feet from Stardom) and Robert Gordon’s cerebral, politically-fuelled documentary Best of Enemies, an unexpectedly entertaining and, at times, emotional chronicle of the famous series of public debates between two intellectual heavyweights. In the conservative corner – author William F. Buckley Jr., right wing commentator and editor of the magazine National Review. In the liberal corner – patrician Gore Vidal, writer of countless plays, screenplays and novels (including the classic satire Myra Breckinridge). The two went head to head 1968, appearing in ten consecutive verbal disputes televised across the nation and defining civic discussion in the media itself for years to come. Punctuated with biographies of the pair, and the impact and outcome of each debate on the era, Neville and Gordon’s film makes for a compulsive and vital history lesson in media discourse.

It’s interesting to delve beneath the façade of opinions and wry words for a raw and visceral look at these two very different men; as each debate explodes it becomes clearer that Buckley and Vidal undoubtedly despised each other, yet always possessed a mutual respect, even amidst the increasing threats of violence. The Catholic Buckley disapproved of Vidal’s openly sexual and provocative notions, and vice versa, but most powerful are the final few debates, when the pair realise their escalating rivalry has become a product of the media; was genuine, passionate hatred merely entertainment? The film stumbles a little in its attempt to relate the impact to modern society, but for enthusiasts of political history this is a prudent and poignant relic.

Screening:
Sun 12th July, 2:15pm – Luna Leederville


Images courtesy of Revelation Perth International Film Festival, Susie Conte & Jenny Crabb, Madman Entertainment, Magnolia Pictures & Participant Media

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