THE CANNIBAL CLUB

Brazil, 2018, 82 minutes, Colour.

Tavinho Teixera, Ana Luiza Rios, Pedro Dominguez, José Maria Alves.

Directed by Guto Parente.

The title is very direct and the film is a portrait of a cannibal club. This is not a film for the wide audience. Rather, this is a satirical look at affluent societies, their seclusion in their self-satisfied world, pandering to their every whim, victimising and disdaining the rest of the world.

The director is noted for satire as well as for some graphic representation of his themes. And this is the case here, ugly scenes of murders, some graphic sexual sequences, and the distasteful (literally) presentation of meals and banquets of cannibalised human flesh.

The film is brief, making its points, intending shock moments.

The focus is on the couple, well off, living in a mansion, a staff, a boy at the pool who is later killed after a sexual encounter with the wife and becomes their meal. And there is the cannibal club, presided over by a wealthy businessman, scenes of very well-dressed elderly men (women excluded) having the cannibal meals and watching sexual activities and proclaiming moralistic stances.

The crisis comes when the head of the club is caught by the wife in a homosexual encounter – and their lives are in danger. They hire another pool boy with the same intentions – but, it ends with his turning the tables and eliminating the president and the husband and wife.

And, there you have it. Reviewers refer to Bunuel’s The Discreet Charm of the Bourgeoisie and Eating Raoul, the Hannibal Lecter films and television series. (In googling best cannibal films, a list of 144 titles appears, many exploitation films, many horror films.)

THE EXCHANGE

Canada, 2021, 93 minutes, Colour.

Ed Oxenbould, Avan Jogia, Justin Hartley, Jennifer Irwin, Paul Brownstein, Jayli Wolf.

Directed by Dan Mazer.

The Exchange is a lightly serious comedy. It has been written and directed by Dan Mazer, for many years a writer for Sasha Baron:Cohen in his Ali G television days as well as for his Borat films. Which means that it is a mixture of the raucous, sentimental, satiric.

This is a Canadian feature set in the middle of nowhere being introduced in most derogatory terms. The town is in decline. However, it has its pride, and its annual parade with its parade committee.

At the centre is a teenager, Tim, played by Australian actor, Ed Oxenbould (who has worked both in Australia and in the United States with some success). Tim is something of a nerd, his music tastes, his love for French New Wave films. And he is severely bullied at school. He devises the plan for having an exchange student from Paris.

Avan Jogia is Stephane, full on from his arrival at the airport, engaging with everyone, friendly, no holds barred, but really responding to Tim’s interests, Tim very disappointed, Stephane enjoying himself, especially with the girls, good sport…

Eventually, Tim and Stephane do hit it off, mellowing, but Stephane under suspicion from the rest of the town when there is sabotage on the emblem for the town parade. However, Tim defends him as does Tim’s father who was feeling the pressure of business failure and was about to set his store a light but Stephane intervened.

There is obnoxious coach who also acts as police officer for the town who turns out to be the villain.

Happy ending – and a postscript with Tim enjoying himself very much in Paris with Stephane.

1. The title, exchange students, repercussions for the visitors, for the welcoming household, for the local community?
2. The setting, remote, the derogatory descriptions, the isolated town, families, communities, community activities, companies and sales, decline? The musical score? The songs?
3. Tim’s story, his age, at school, bullied and pushed around, his interests, The Smiths, music, the French and New Wave films? Reticent, awkward? At home with his parents? The friendship with Brenda, its ups and downs?
4. The idea of the exchange student, Tim preparing the dossier, its being accepted, the choice of Stephane? Expectations? Tim hoping for a friend?
5. At the airport, the likely candidate and his not being the one, and the end and this is exchange student’s bad reaction to the exchange? Stephane arriving, taking control? Stephane, his background, ethnic, suburbs of Paris, his perspective, irrepressible, speaking with everyone, ingratiating himself, at the airport, the school, with the secretary, teachers, the girls, skill at sport, knowledge of music, the sexual ethos of the students, back seat of cars sex, his participating?
6. Stephane, welcomed by the family? Tim, finding it hard, trying to share experiences? The drive, Stephane’s behaviour, Tim and their hitting of the cow, his fears, revival, the bonding with Stephane? The change in Tim, sharing the experiences, filming the video, his friendship with Brenda, drinking, the comments on Brenda, the confrontation, breaking with her?
7. The ethos of the town, the celebrations, the planning committee, the parade, the idea of welcoming diversity, the cynicism of the Egyptian man in the town?
8. The coach, self-satisfied, his police role in the town, the receptionist and the relationship, his interventions, his sabotaging the event, the eventual explanation?
9. Tim and his father, the business failing, the revelation of his trying to set fire to the store, Stephane intervening and saving him?
10. The destruction of the emblem for the parade, everybody turning on Stephane? Tim defending him, the truth about his helping Tim’s father?
11. The happy ending, reconciliation with Brenda, Stephane and his experience, everybody turning in favour of him? Tim and the changes?
12. The aftermath and the scenes in Paris with the two together?

TREASURE

Germany, 2024, 111 minutes, Colour.

Lena Dunham, Stephen Fry, Andre Ennicke, Zbigniew Zamachowski, Wenanty Nosul, Iowna Bielska, Maria Mamona.

Directed by Julia von Heinz.

“Where your treasure is, there your heart will be.” And the treasure of the title? For the middle-age woman wanting to visit her family’s homeland, appreciate her Jewish heritage and the consequences of the war and concentration camps? For the man who had survived the camps? Treasure for each of them and a quest in re-visiting Poland, the setting 1991.

Treasure is based on a novel by Lily Brett, who grew up in Melbourne, living now in the United States, but a candidate for many of the Australian literature of awards, including the Miles Franklin, and awarded an AO in 2021. In the film is dedicated to the memory of her father – and a photo of father and daughter at the final credits.

There will be a variety of responses to this journey back to Poland, the older generation with its sad memories and the reality of the Holocaust and the Jewish genocide, a younger generation wanting to understand the past better. And there is the 21^st-century audience, now decades-distanced from the events but wanting to know, understand and appreciate more.

This means that Treasure has had more effect on the wide range of audiences rather than affirmation by film critics who have been rather severe on the screenplay, the casting, the performances.

The performances are striking in their way, a difficulty being that both father and daughter are not immediately likeable difficult to identify with on this significant quest. Lena Dunham is Ruth, middle-aged, music journalist in the US, marrying her husband for his getting a green card and a divorce, the death of her mother a year earlier, a difficult relationship with her father. She is quite idiosyncratic, even carrying her breakfast cereals with her… A difficult role, but more immediate audience sympathy for her than for her father.

He is Edek, Stephen Fry, absolutely brilliant, domineering and controlling with a broad smile and flashing money to get his way, critical of his daughter and her life, casual in his approach to this journey back into the past. In fact, he rather wants to avoid going back to where he grew up in Lodz, wary of a trip to Auschwitz. But, this is Ruth’s quest and, eventually, they do go to see the family factory, now dilapidated, go back to the apartment block where the family lived, the new occupants apprehensive about being evicted, lying about the apartment being empty when they moved in, but the gradual discovery that they did have silver, crockery, coats from the past – and Ruth, desperate for mementos, bargaining to buy them.

And the visit to Auschwitz is important, the inmates not required to walk to the entry but allowed on the trolley, Edek finding the grown-over rail tracks where they disembarked, visiting the site of the hut where he lived, the workplaces.

While there are criticisms of the performance, of the relationship between Dunham and Fry on screen, of the screenplay, there is still value for a 21^st-century audience sharing this journey of memory, journey of discovery.

1. The title, the treasure for Ruth, the treasurer for her father? Recovering treasures from the past for treasures for the present?

The Polish settings, the countryside, the cities, the drab atmosphere, contrast with the luxury hotels, the old factory, the old apartment block and interiors, Auschwitz, 1991, atmosphere? The musical score?

2. The film based on actual events and characters? The photos at the end? The father-daughter relationship, memories of the war, expulsion of Jews, Auschwitz in the camps, after the war, migration to the United States, the new generation, wanting to understand something of the heritage?
3. Ruth, the casting of Lena Dunham, her screen presence, age, background, music journalist, planning the trip, accompany her father, wanting to visit Lodz where he grew up, wanting to visit Auschwitz, to see, to understand, to appreciate, to have some concrete memories? Her background, personality, green card for her husband, the divorce, her mannerisms, vegetarian, carrying the cereals…?
4. Edek, the casting of Stephen Fry, his screen presence, filling the screen? His back story, life with his parents, the expulsion from their home, his wife, the train to Auschwitz, his dislike of travelling by train, memories? His life in the camp? To America, a happy life in America, the recent death of his wife? Grief? His domineering personality, impromptu decisions, spontaneous reactions to people, controlling and deciding? Interfering in his daughter’s life?
5. The opening at the airport, Ruth and her tension, the father missing his plane, his explanations, her buying the train tickets and her careful planning, budget, his disregard, the encounter with Stefan, the taxi, hiring him for the whole trip? Stefan and his friendliness?
6. The range of hotels, the accommodation, the father and his demands, adjacent rooms, splashing the money? The range of personnel at the hotels, the responses? Tadeusz, young, speaking English, wanting the autograph, hired as translator, his interventions with the family in the apartment? The bargaining for buying the souvenirs?
7. Edek and his decision to go to the ghetto rather than to Lodz, the destruction of the ghetto, his wanting to have a wall, the photograph? Ruth and her demands, the visit to Lodz, drab, the visit to the factory site, the reaction of the young man, clearing the dirt and finding the tiles? Explanation of the manufacturing? The visit to the apartment?
8. The issue of the apartment, the new family, moving in the in 1941, saying there was nothing there, the fear of being evicted, the crowded apartment, reactions? The discussions, the lie about nothing there? Silver bowl, the crockery…? Ruth returning, with Tadeusz, discussions, the silver, the price, her not wanting to haggle, the teapot, the discovery of all the crockery, and finally the coat? Her giving the code to her father, his breaking down, memories, tears? The photo of his parents? Looking at the range of photos? His finally wearing it?
9. The visit to Auschwitz, the father and his reluctance, the arrival, the guide, Ruth saying that Auschwitz was not a museum but a death camp, revisiting the areas, her father identifying the rail tracks and their arrival, his place in the hut, work? The effect on both of them?
10. Edek and his sociability, joining in the singsong the hotel during the night? Friendship, splashing money? The contrast with Ruth, glum, her breakfasts, her suspicions? The attempt to ring her former husband and hanging up?
11. The two women, their jobs, the encounters, the conversations, flirtation? Edek his spending the night, the aftermath?
12. The culmination of the trip, memories of her mother, sometimes distance of her father growing up, not weeping at the funeral? Her grief, her motives for visiting, packing her souvenirs? The future? Reconciliation with her father?

RUNS IN THE FAMILY

South Africa, 2023, 107 minutes, Colour.

Ace Bhatti, Gabe Gabriel, Cleo Wesley, Lauren Loubser, Diaan Lawrenson, Rob van Vuuren.

Directed by Ian Gabriel.

As the title suggests, this is a film about family. But, it is very much a different kind of family. The setting is South Africa.

The focus is on River, in his early 20s, at birth the girl, discerning a male identification, beginning the transition, needing money for final surgery. His father is of Indian background, tailor, but with a conman past. River’s mother, Monica, has been absent for most of his life, a white South African and former flight attendant.

River, now identifying as male, bonds with a close friend, Drag Queen, Ollie. They do a pod cast as they travel around in their car with many followers. And, there is a world competition, South African addition of Drag Queen performances coming up. River and Ollie hope to win, the proceedings for the surgery.

But there is a dramatic situation, River’s father contacted by Monica, in an institution and wanting to be freed, the only legal person open to do so, River. He is unwilling to go but changes his mind.

The film then becomes a road film, bonding between father and son, shared interests, generational differences, having to cross the border illegally, getting help from a friendly passerby, getting Monica out of the institution, back under the fence and back to the city.

Monica has to get used to the trans-situation, seemingly very friendly. And memories of the past, especially with their friend Stan involved in an insurance scam.

But, there is a difficulty, Ollie having an injury preventing performance at the drag show, the decision for the father to take his place, the rehearsals, dress fittings, make up, and the actual performance which is a great success – but their not winning.

It might seem that the film would end there but there is another 20 minutes or more, quite some complications in the plotting, harsh revelations about Monica, some truths for Stan, some truths for River, especially about Monica and her using him, but the final truth coming out and happy ending.

That is played by Gabe Gabriel, writing the screenplay, drawing on his own life, and the film directed by his father, Ian Gabriel.

Many audiences will watch the film because of the Drag Scene – and it is in the tradition of quite a number of films, most notably, To Wong Foo, With Thanks for Everything, Priscilla Queen of the Desert, La Cage aus Folles, The Birdcage, Victor/Victoria, Flawless, Connie and Carla, Kinky Boots, Torch Trilogy.

1. A South African story, universal story, father-son, transgender, drag shows?
2. The settings, the towns, shops, bars, the drag scene in clubs, the South African countryside, the institution, bars and motels, the final show?
3. The musical score, the range of songs, especially as background for the drag performances?
4. The credibility of the situation, the writer-actor and his own trans story, writing the screenplay, his father directing?
5. Title, the family situation, river, growing up as a girl, indication of male identity, transitions, saving money for surgery? His relationship with his father, Indian background, conman friends, Stan, bringing up his son, supporting him? The absent mother, Monica, 20 years absent, not wanting to be a mother, her phone call, wanting to be rescued from the institution, River being blood relation the only one to sign her out, his unwillingness, change of heart?
6. River and travelling with Ollie, the pod cast, the visuals, the feedback, the clientele?
7. The Drag Scene, River and his friendship with Ollie, the camp style, the club, the dancing, the chatter, the other members? The prospect of the competition, the big prize money, to contribute to the surgery? The planning, choreography? Ollie and the injury? The solution with Varun having to step in, being willing, the rehearsals, the older man and stumbling, the dress fittings, the make up, the performance, the zest? But not winning?
8. River and his unwillingness to help his mother, bitterness towards her, her absence? Change of heart, the drive, the conversation, the music, the different generations? Overnight, the shared room, booking the second room for Monica, going to the bar, the father dancing, their being ousted? The later return, Monica and her flirting, River and her affirming him, accepted?
9. Getting the lift, Shaunice and her reaction to River, her own problems, listening to the story, giving them a lift, intervening, helping?
10. The border, the mistake, trekking, under the wire, at the institution, the receptionist reluctant, trying persuasion? Eventually the fake document, River signing, Monica mistaking Shaunice for River, accepting the reality? Under the fence and back to town? The conversations, the rehearsals?
11. At home, Monica going to the bar? The competition day, the celebrities arrival, the drag show, the range of performances, applause, River and his father, the strong performance and acclaim, not winning?
12. River, applauding, his resignation? River and his money, gone, the bank account cleared? Monica and her disappearance? His father, confronting Stan, the denials, seeing the hearing, his return, confronting Stan and Monica?
13. The revelation, the documents, Stan and his wanting a family, the past escapades and the cons with the father and Monica, the insurance money?
14. The aftermath, River and Ollie and their love for each other, River and his father, the renovated store, Stan giving it to them and taking some money and disappearing? Monica left stranded?
15. The blend of the serious theme, comedy, a road film, the drag scene?

TWISTERS

US, 2024, 117 minutes, Colour.

Daisy Edgar-Jones, Glen Powell, Anthony Ramos, Brandon Perea, Maura Tierney, Harry Haddon-Paton, Sasha Lane, Darrell McCormack, David: Corenswet.

Directed by Isaac Lee Chung.

By a happy twist of fate, Twisters is an entertaining crowd-pleaser. Anyone who buys a ticket, keen to see tornadoes in action as well as the human efforts to chase and combat them, will find a multitude of twisters here. The special effects of the tornadoes themselves, the visuals of their destructive force, the ruins and aftermath, are quite spectacular. And the editing keeps the action running at a very brisk pace, often edge-of-the-seat adrenaline pumping.

1996, the original Twister was a holiday entertainment, much the expected theme, two experts, despite divorce proceedings, working together to chase the tornadoes. The director of that film, Jan de Bont, had not heard that there was to be this kind of sequel, making a comment that a sequel could only succeed if the tornadoes were bigger. The filmmakers this time have absolutely taken notice of that observation, not only are they bigger, there are many more of them.

But, the screenplay here places quite a lot of emphasis on the science – whether the audience understands the details of it or not. In fact, the film opens with a young enthusiast, Kate, Daisy Edgar-Jones, leading a team that hopes to release chemicals into the eye of the twister to dissipate its force. There are some scientific explanations. But, the experiment is a tragic failure, the deaths of several of the participants.

Then we go five years later. One of Kate’s former colleagues, Javi (Anthony Ramos) enlists her help with his experiments, placing tracking machines around the tornado in order to get a three-dimensional reading. Again, scientific explanations. By contrast, there is Tyler (a grinning Glen Powell more gung ho at first and he was in Top Gun Maverick), a so-called tornado wrangler, with his own team of scientists (who, In All clothes, do not look like it), and filming his exploits, taking tornado tourists out to witness the phenomena, and a British journalist joining. in

Obviously, there is going to be rivalry. And there is. However, there are some jaw-dropping sequences of the tornadoes and their force, extraordinary destruction and ruin with the challenge to Kate and Tyler and Javi as to whether they pursue their research or go to help people in distress. (And in the background there are themes of corporate exploitation of those whose homes of livelihoods have been destroyed.)

In fact, Kate retires from the chasing and goes home, her mother urging her to do more research, Tyler tracking her down and collaborating – after they go to rodeo, also a tornado victim. Already magazine articles are being headed “whirlwind romance”! At first it is a battle of the sexes, but very strong on equality between men and women, and then scientific collaboration. Actually, there are some sequences during the final credits when audiences are stampeding for the exits, which actually show further plot developments.

Twisters sets out to be an action-disaster holiday entertainment. It succeeds well.

1. The reality of tornadoes, twisters in the United States, the Southern States? The weather phenomena? The impact on towns and populations, on the countryside?
2. The 1996 film and its popularity? Continued films on twisters? This sequel, many more tornadoes, much more devastation, much more scientific speculation, tornado wrangling, tornado tourism, experiments to understand tornadoes, physics and chemistry?
3. The film in the disaster movie tradition? Action, adventure, characters, crises?
4. The opening, Kate and her team, the scientific background, their personalities and interactions, the dangers of the tornado, the attempt to release the chemicals, winds, vehicles overturned, characters blown away? Kate and her relationship with Jeb, the driver, saving her under the bridge, his being blown away?
5. Five years later, Kate New York, her work, observation of storms? Javi and his visit, his story, the Army, experiments, technology to observe twisters, three dimensions? His sympathy, his participation in the early experiment and surviving? Asking Kate to come for a week?
6. Kate, meeting Javi’s team, professional, academic backgrounds, Scott and his hostility to her, his criticisms of her? The connection with developers and the later consequences? The chasing of the tornadoes, Kate and her expertise, the encounter with Tyler, rivalries, her missing out and Javi’s response?
7. Tyler, tornado wrangler, big grin, cowboy, his team, vehicles, theyir not looking scientific, their passengers for tourism, the risks of the dares, the British journalist, observation, anxious (bounced around, later sick, his seatbelt)? The audience later realising that they were scientific and skilled despite appearances?
8. The tornado sequences, the dangers, the twisting, the air, the wind, blasting vehicles, the placing of the machines for the three-dimensional picture?
9. Kate, her background in the state, Tyler underestimating her, the later going to the rodeo? The awareness of the towns in danger, the decisions to go to help, the visuals of the twister attacking the towns, the people, the aftermath? The businessman and his exploiting the survivors, allegedly with financial help? Kate and a sense of disillusionment with Javi and his team?
10. The destruction of the rodeo, the audience enjoying it, Tyler and his saying he used to ride the bulls, the wind, trying to rescue people, the movie theatre, survival, Tyler holding onto his associate? Kate going out, the experiment with the chemicals? Their rescuing her?
11. Kate, distance from her mother, going home, settling in, her equipment, the model village, her looking at her notes? Tyler tracking her down, interest, explanations? Her mother inviting Tyler to stay? Their working together, working out the chemicals, rain precipitation, lessening the impact of the twister?
12. The final opportunity, the tornadoes, going out, the battering, explosions, the dangers?
13. The final success, the release of the chemicals, lessening the impact of the twister?
14. Kate to get back to New York, Tyler the airport and his truck and its ability to dig into the ground and stay, the credits sequences and the photos, the clips, the development of the plot, working together, success, romance…?

SOMETHING IN THE WATER

US/UK/France, 2024, 86 minutes, Colour.

Hiftu Quasem, Natalie Mitson, Nicole Rieko[Setsuko, Lauren Lyle, Ellouise Shakespeare-Hart.

Directed by Hailey Easton Street.

Yes, the sharks menacing story once again. However, this is a small film, a small cast, some personal drama, and menace in the open sea, including sharks. It is very low-key in comparison to most of the shark films.

The first 20 minutes introduced to central characters, Meg and Kayla who intends to propose to Meg. They are accosted on their way home, homophobic slurs, and Meg is bashed as Kayla insults the group.

A year later, their friend, Lizzie, invites her friends, including Meg and Kayla to come to a Caribbean island to celebrate her wedding. Meg and Kayla have not met since the bashing and Meg is very reserved, fairly hostile.

There is a celebration of a meal in preparation for the wedding and the group goes out in a boat to an island, three of the women leaving Meg and Kayla on the beach to reconcile their differences. When they all team up again, one of the women in the water suffers and attack, a gashing wound to her leg, significant bleeding. They decide to return to the mainland in their small boat which they have previously criticised as inadequate. And it has only one lifejacket.

The rest of the film, it is diminishing numbers of the friends, the wounded girl dies and they let her go out to sea. Lizzie, the future bride, reveals that she cannot swim so she is given the lifejacket. Kayla then decides to swim for help. Another of the women is taken by the shark. A boat passes but does not notice the two women clinging to the lifejacket.

Meg sleeps during the night and Lizzie then disappears sacrificing herself for Meg. Meg finds a rock outcrop, is circled by a shark, the tide rises, Kayla arrives just in time to rescue Meg.

This is very much a women’s film, writer-director, cast, women’s issues and interests.

THE YEAR OF FURY/ L’ANO DE LA FURIA

Spain/Uruguay, 2020, 99 minutes, Colour.

Alberto Ammann, Joaquin Furriel, Daniel Grao, Martina Gusman, Sara Salamo, Paula Cancio, Maribel Verdu.

Directed by Rafa Russo.

The 1960s to the 1980s were decades, especially in Latin America, of social upheaval, political unrest, military coups, dictatorships. Audiences are more familiar with those in Chile with the death of President Allende in 1973 and the subsequent rule of General Pinochet, as well as the history of Argentina, the rule of the Generals and the Falklands war.

This film is about Uruguay, a smaller country, not so well-known. And it takes place in 1972, an atmosphere of military rule, then a move towards a coup d’état and a dictatorship. It has been written and directed by Rafa Russo (The Movieteller).

The film shows the steely intent of the authorities, high righteous ideology, with some religious background, and, with one of the central characters, a man who tortures, trained in the School of America techniques, playing music while he tortures, but his own character tortured, militarily ambitious, agreeing with the ideology, distant from his wife, and then taking up with a prostitute who, in fact, has been chosen by the authorities for him. The key aspect of the drama is his relationship with her, the authorities deciding his relationship is too much and shooting her – but her survival, her pregnancy, his shielding her, exposure, her death – and the fate of the new born baby.

The rebels are also shown, initially in the torture chamber and the news of the deaths. And the focus of the film is on two writers of television satire, one of them with a harsh past, a celebrated novelist, but arrested, bound and executioners firing around him but not at him to intimidate him. The other writer is very earnest, introduced into the group of rebels, but also very friendly with and caring for the pregnant prostitute.

There are no winners in this situation, some rebels fleeing to Argentina, others arrested, pursued and killed, and the central writer forced to stand up for his conscience.

Audience knowledge of Uruguay and politics, the 1970s, dictatorships?

South American of the period, Chile and President Allende, the 1973 uprisings and dictatorships? The experiences in Argentina? As background for this story?

The visuals of Uruguay, the city, the views, homes, the streets, the television studios, the meetings of rebels, the military, the prisons, the torture chambers, hotels and rendezvous? The musical score?

Elaboration of the political situation, the role of the military, the role of the political leaders, the move towards pressure and repression, arrests, torture, rebels and their being spied on, atmosphere of fear?

The focus on Diego and Leonardo, their writing satire, the performances, the studio response, the studio chiefs, the political implications? The success? Under suspicion? The pressure on the studio heads, rewriting the satires? The reaction of the actors, Leonardo and his anger? Diego and his disillusionment?

Diego, the focal character, the situation through his eyes, a good man, his friendships, with Jenny and Emilia, his friendship with Susana, in all her troubles, supporting her? The friendship with Leonardo, his background, author, stopped in the street for autograph, his moving on, memories of his arrest, the threats, blindfolded and the shots, the warning and his subsequent life, drinking, women, the past relationship with Emilia? The writing, anonymous, having to change the screenplay? Diego, anger, the falling out between them? The later reuniting, Leonardo and his explanations?

Emilia, the family, the relationships with the men? Jenny, the relationship with Sergio, in the house, his being tortured, the news of his death, hiding his things, the search of the house? Emilia and Leonardo? Jenny and her involving Diego, the meeting with the groups, the information about Rojas, the consequences?

The atmosphere of the torture, Rojas and his putting on the music, Sergio and the torture, the later news of the deaths of the prisoners?Trained by the Americans in Panama, School of the Americas, torture skills, yet playing the music? The tense relationship with his wife? The meeting with Susana, seeing her at home, preparation to go on the streets, the blonde wig, with Rojas, the military picking her?

The relationship with Rojas and Susana, her being pregnant, his visits, his violence, yet his tenderness towards her, the secret police their watching him, the threats, shooting Susana, her recovery, his getting the apartment for her? Her secrecy, but her telling Diego, his telling the contacts, the following Rojas, the secret police following them, and shooting the pursuers dead?

The birth of the baby, Diego helping, Rojas taking the baby and giving it to his wife?

The buildup to a coup, the subsequent history Uruguay, refugees fleeing to Argentina, Leonardo and his future, Diego and his place in society?

A grim reminder of political situations 50 years later?

IN A VIOLENT NATURE

Canada, 2024, 94 minutes, Colour.

RY Barrett, Andrea Pavlovic, Cameron Love, Reece Presley, Liam Leone, Lauren-Marie Taylor.

Directed by Chris Nash.

This is a Shudder production. Shudder is a subscription on demand network for horror, thriller and supernatural movies. It is for a niche market of viewers (some referring to the genre community) who enjoy these genres – and, especially, as a move towards more extreme content and style, an emphasis on slasher movies, horror and gore.

Which is the background for In a Violent Nature. On the one hand, the core of the narrative is almost archetypal, kind of narrative made very popular by the Friday the 13^th franchise. A group of people are in the woods, a serious masked killer stalks them, eliminating them one by one – in grim and gruesome style.

This is what happens here. At the campfire there is a story told about a massacre which took place 60 years earlier in the forests, the death of Johnny and his burial, and a necklace from his mother hanging from the iron shafts at the mine. If the necklace is removed, he will rise from the dead. The group of 30-somethings are sitting around a campfire, discussing the story, one taking the necklace, Johnny rising from the dead, a sombre corpse figure, the campers killed in gruesome manner, extreme close-ups of bashings, shootings, decapitations… Which is what the enthusers for slasher films want.

And, there is a survivor, traumatised, getting a lift to the hospital, the audience knowing that there can be sequels.

As said, these films are made for a niche audience. The general public would not want to see this kind of film, would find the visuals too confronting, the narrative upsetting, and many of the details, relished by the writer-director, Chris Nash, a special effects expert. General audiences would want to shut their eyes and turn away.

To that extent, In a is to Nature is what Shudder audiences expect.

But, they great deal of the running time is spent in static gaze at the mine, at the woods, long sequences simply following Johnny with the woods. He eventually finds a mask to wear. This gives the audience plenty of time to ponder who he is, why he is what he is, the fate of the victims. These long sequences are something of a puzzle as to why the director has decided to include so many of them. And, after the last grim killing, and the escape of the woman, almost 10 minutes are devoted to the two women driving the truck, the driver talking and chatting about a relative who survived the attack in the woods, the victim quiet and traumatised. And then the film ends.

On checking with bloggers on the Internet movie database, there is quite divided opinion. Some comments admire the style of the director and his different, slow approach, while many of the regular viewers declare that it is all too slow, too boring…

In a Violent Nature received some theatrical release enabling non-Shudder viewers an opportunity to watch one of their productions.

FLY ME TO THE MOON

US, 2024, 132 minutes, Colour.

Scarlett Johansson, Channing Tatum, Woody Harrelson, Ray Romano, Jim Rash, Anna Garcia, Victor Garber, Donald Elise Watkins, Noah Robbins..

Directed by Greg Berlanti.

On the one hand, this is an old-style romantic comedy, memories of the 1930s and what was called screwball comedy. On the other hand, the setting is 1969, NASA, preparations for the moon landing, its achievement. And they come together entertainingly here.

For those of those who remember 1969, it is a welcome reminder of the atmosphere of the time, the heightened excitement as July neared, the actual landing, “one small step…”, The sense of achievement, something of a balance to the turmoil of the Vietnam war. Audiences for whom this is something of remote history, it is an opportunity to learn something of the atmosphere of the times.

In the 21^st-century, we live in an age of conspiracy theories, many of them outlandish. However, even back then , there were conspiracy theories that the moon landing did not happen, that everything was manufactured on the studio lot – and the film later re-creating this speculation, Capricorn One.

The screenplay here amusingly incorporates the conspiracy theory of the fabrication of the moon landing along with the real thing.

Scarlet Johansson is definitely the star of this romantic comedy, Kelly Jones, one of her most forceful performances, something of a con artist, skilful in promotion and advertising (which we see in the opening sequences and are somewhat taken aback), then recruited by a mysterious secret agent who claims he has a line directly to President Nixon, and played with smilingly smug complacency by Woody Harrelson. Her mission is to make the moon landing and its preparations much better known to the American public.

What follows is an extraordinary look at American brashness, self-confidence, promotion of any product by any means possible – and here, on radio, television, imprint, rallies, breakfast cereals, omega watches, soft drinks are all incorporated into the promotion as well as, more seriously, some extraordinary lobbying of senators who are inclined to cut off funds for NASA.

Kelly is able to rise to every occasion, walking over most opposition, changing her accent at a moments notice, flirtatious one minute and religiously devout the next!

The other part of the romance is Channing Tatum, rather more serious, a touch sombre, a former Korean pilot, the launcher chief for the Moon project, very conscientious about his work – though the screenplay is a bit satirical about him and his style. When, by chance, at a diner, he sees Kelly, he is infatuated – but soon disillusioned when he discovers her mission, how she operates, the manipulation of truth and lies. But, he does get caught up in the melodrama, often unwillingly.

While the film is very strong in its presentation of the NASA work, the visuals of the plant, the control room…, It entertains the audience with the whole setting up of the fake landing, the studio, moon rocks and dust, space vehicles and gear, all rehearsals about space walking… And extraordinarily prissy director.

A wandering NASA black cat is key to the events – especially for the fake landing.

So, on the one hand, romance and comedy. On the other, memories of when America was greater than it is now…

1. The title, the song? Romantic comedy? Screwball comedy? Preparations, achievement of the moon landing, 1969?
2. A piece of Americana, the advertising and promotion world, science and technology work and space, politics, agents, cover?
3. Cape Canaveral, 1969, the reconstruction, the tallest single story building, interiors, the plant, the layout, the control room at the desks, the comparison with the ordinary, motels, diners, the wharf, and the set for the reconstruction for the moon landing?
4. The musical score, echoes of the 1960s, the range of popular songs of the period?
5. The introduction to Kelly, the pitch about the cars, pregnant, challenging the executives, naming their cars, revealed not to be pregnant, to research the information? Their reaction on discovering the truth? Ruby as her assistant?
6. The buildup of Kelly’s character, her revelations about her past with her mother, then the mother and the shooting, telling her daughter to run, change of names, experience with scams, moving into various industries, finding a home in advertising? Her personality, forcefulness? Her being recruited by Moe, his hold over her, explanations?
7. The introduction to Cole Davis, the Korean War background, his work with NASA, launch control, his responsibilities in the failed attempt on the deaths of the astronauts, preying on him, the garden at the monument? Best pilot, heart condition, rejected for space? Project with Henry Smalls, working with him? The introduction, the escaped gas, using the broom, everyone observing, the explosion? His deadpan style? He is visit to the diner, looking at Kelly, her pages on fire and dousing them, his declaration about her?
8. Kelly and the job, promotion of the Moon journey, for American consciousness? The world of advertising and promotion, American push and know how? Her charts, the drinks, the watches, cereals…? The television contacts, her barging through the plant, taking Walter’s entry card, the challenge by Cole?
9. Moe, his ambitions, secret agent, ear of the president, persuading Cole to do the television interview? His hold over Kelly? The plan for the alternate moon landing? Kelly and the previous contact with Lance, his cruising manner, tantrums, perfectionism, ambitions, job, secrecy, expectations?
10. The months of 1969, the work in preparation for the liftoff, Cole and his responsibilities, relationships with people, decisions? Henry Smalls, personality, collaboration, smoking, talking with Kelly, the need for verisimilitude for the fake moon landing, the tactics, getting Henry to show everything, promising the four work to the book?
11. The relationship between Cole and Kelly, his wariness, her brashness, sharing experiences? Ruby and the young technician, his awkwardness? The dances? The two young men and their enthusiasm, the staff in the 20s, the order in their 30s?
12. Solving problems, the Congress votes, the senators, the techniques that Kelly used to persuade them, the vain senator and photo opportunities, visit to Louisiana and the religious people, quoting the Scriptures? Kelly and her ability to adapt, lies and impersonations?
13. Kelly apprehensive about flying, the flight, the success of the mission, the relationship?
14. Kelly persuading Cole to do the television interview, his being unwilling, her preparing the questions, the interview, the intrusion by the interviewer, his angry reaction?
15. Moe the issue of the cameras, disabling the shuttle, getting the sound feed, but showing the fake landing? The preparations, the set, the camera, sand desert rocks? The actors and their impersonations?: His reaction to the actors? The rehearsals, the comic touches and failures?
16. Kelly, disillusioned, the confrontation with Moe, her decision to leave, the airport, his talking with her, her change of heart, the return, the explanation to Cole, the issue of fixing the camera on the shuttle, the two young men, her driving, smashing the window, the television set, the police escort, the last-minute change? Tensions?
17. Walter Cronkite, the millions watching on television, the crowds at Cape Canaveral? The liftoff, the flight?
18. The landing, the real, the fake performance, the sound, the “one small step…”? Checking what was real, the blurry nature, Moe wondering whether this was fake? The ultimate success? Moe and his change of heart, pride?
19. The success of the mission? Kelly and the revelation of the truth about herself? Ruby and the young technician? The future?

SUNFLOWER

Australia, 2023, 84 minutes, Colour.

Liam Mollica, Luke J.Morgan, Olivia Fildes, Daniel Halmarick, Elias Anton, Diana Ferreira, Sol Galofaro, Mia Barrett.

Directed by Gabriel Carrubba.

Sunflower opens with a young man standing in the vast field of sunflowers, bright blue sky. Then follows a schoolyard bashing sequence a group of young man hitting and kicking another. Later there will be flashbacks to these sequences.

Writer-director, Gabriel Carruba, has noted that his film is semi-autobiographical, set in the working-class suburbs of south-east Melbourne where he grew up. His film is billed as “coming-of-age” but the particular emphasis is on the 17-year-old Leo, his Italian family background, mother at home, father a truck driver and very demanding, a younger brother. Leo is grappling with his sexual orientation, resisting, tense.

Audiences have seen this kind of story before, in recent decades in a number of novels, films, and episodes in television series like Heartbreak High. Which makes one ask while watching the film, who is the intended audience? In an interview, Gabriel Carrubba has said that he didn’t have an audience in mind, just wanted to tell the story. He appreciates that teenagers undergoing the same questions, identity-seeking, will identify with Leo. It is a film which parents could watch and find the situation with their sons, something that they can consider, find challenging. But, many high school homophobic-environment boys not want to watch it.

Gabriel Carrubba has said that his use of sunflowers is an image, the flower ugly when it is growing but, in full bloom, bright, full of colour. And the sunflower imagery in painting and in fields of flowers recurs during the film, Leo surveying the sunlit flowers.

Liam Mollica is effective as Leo, though he and the other high schoolers look rather older. Leo tries to be one of the boys, mates with the rowdy Boof (Luke J.Morgan), more than an eye on the girls at school, but having to confront the reality of sexual encounters and relationships. The film focuses on Leo and his attempts to be as ordinary as he can be, and the rumours and gossip around the school, then the scene we have already noted of the bashing, his being ostracised, his concern about his parents, his growing anger and pushing people away.

It is his sympathetic brother who is aware of the situation and suggests some contact with another boy at the school, Tom, whom audiences have realised is also gay. The friendship grows, Leo begins to accept himself, and, the film ends with hope, Leo’s letter to his father and mother and their response.

This is a small film, the director’s visual coming to terms with his own life, the possibility for next steps in his life and in his career.

1. The title, the visuals, the fields, the flowers, the art work? The symbol of the flower ugly in development, blooming? The contrast with the gay bashing at the opening of the film?
2. Australian film, the Melbourne sitting, the suburbs, homes, schools, streets? Authentic atmosphere? The musical score?
3. The work of the director, semi-autobiographical? Intensity of feeling? Universal themes?
4. Coming-of-age stories, coming-of-age and gay sexual orientation?
5. Leo’s story, his place in the family, his younger brother and friendship and support, his truck driver father, severe in manner, demanding, timetables, supportive mother?
6. Leo, 17, the years at school, one of the boys, sport, locker rooms, bravado and talk, sexual, eyeing the girls? Boof and his friendship, coming to the window, into the house? Leo and masturbation, imagination, there are online contact, the visuals, taking off his shirt? His embarrassment? Shutting the computer? The masturbation sequence, sharing with Boof?
7. Leo and the encounters with Monique, talking,, together, the kissing, her wanting the sexual encounter, his inability, the aftermath? His embarrassment, his anger?
8. The gossip in the school, his reputation, the bashing? The reaction of the boys, his injuries, at home, seclusion? At school? The locker room, everybody walking out?
9. Tom, with the boys, yet alone, audience awareness of his personality and orientation? Leo’s brother, arranging the meeting, the agreement, skateboarding, going out together, the lake, sharing, comfortable with each other? The growing relationship? The discussions?
10. Monique and her reaction, supportive? His embarrassment?
11. The other boys, with the girls, the drinking episode, Leo lying out in the field, lying with Boof, his father rebuking him? Will and his embarrassment? About Leo?
12. Leo, isolation, being solitary, the decision to write the letter, giving it to his brother?
13. The return, the parents reading the letter, sadness, embracing him on his return?
14. The prospects for his future?