First came the upward sweep of Samson & Delilah (2009) into the annals of Australian mythology, one of the few departures from the colonial trend of Australian storytelling. Following in those steps, Warwick Thornton’s Sweet Country (2017) aspires of a similar folklore, but doesn’t reach the mark.

Sweet Country is…

“I wish that leprechaun was nice.”

This line is delivered by six-year-old Jancey ( Valeria Cotto) who, alongside her best friend in a Florida carpark, stares whistfully at a rainbow, wishing for promised gold. So runs most of Sean Baker’s The Florida Project (2017), the director’s first fetaure since the…

Dennis Villeneuve (Sicario [2015], Arrival [2016] and many other features) has taken up the Ridley Scott torch with confidence and precise attention to detail. Blade Runner 2049 (2017) interrogates the central question of the original Blade Runner (1982), but insistently presses the questions of human versus technology-based life, responsibility for…

Rahul Jain’s debut, Machines (2017), investigates the inner workings of a textile factory in India. The film explores the factory floor, the managerial staff, and the selling floor where the value of goods is decided. …

The second feature from directors Nana Ekvitimishvili and Simon Groβ (self titled duo ‘Nana & Simon’), My Happy Family (2017), follows matriarch Manana (Ia Shugliashvili), who decides to leave her family home, much to the outrage of the multigenerational occupants who live by her cooking, cleaning and care.

Call Me By Your Name is Luca Guadagnino’s fifth feature. An atmospheric, nostalgic and lust-riddled Bildingsroman, the film was adapted from Andre Aciman’s novel of the same name. …

Highly anticipated, severely overcooked, Edgar Wright’s latest feature, Baby Driver (2017) is an action, music and cringe-packed Hot Mess. Yes, it stands to be repeated, capitalized. Hot Mess. Where the film’s premise was cute in concept, it manifested as a teen-dream, driving-and-lady-porn catalogue, strung meekly together on the most tenuous…

Sofia Coppola’s latest feature, The Beguiled (2017), dances directly past the spine of its topic. The disregard for the social-historical context of the film, and the half-cooked characters causes the film to skim over the surface, moving too fast to pierce the many touched-upon membranes of gender, sexuality, race, violence…

Enigmatic to the last, Tartt, will we really have to wait till 2023 till the next novel from you? As with The Secret History (1992), and The Little Friend (2002), The Goldfinch (2013) is equally immersive, painstakingly formulated of intricate details and characters. Now, again, we must wait, like delicious…

William Oldroyd’s period adaptation, Lady Macbeth (2016), has a narrative thread that slowly but surely spools onto the spindle of mishap. Shakespeare’s puppeteering woman, a ghostly archetype born in the 1600s, seems destined to forever arise in new contexts. Lady Macbeth, indeed, the spot does not go out.

Alice Birch…

Georgia Angus

Anthropology student, writing, sketching & reviewing. https://georgia-angus.com/portfolio/ @angus_georgia

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