PRAISE THIS

US, 2023, 111 minutes, Colour.

Chloe Bailey, Anjelika Washington, Quavo.

Directed by Tina Gordon.

As the title seems to suggest, this is a religious film, a religious music film. Cast and production is exclusively African-American, the setting in Atlanta, Georgia.

The attraction of the film to all audiences is the music, the singing. It continues almost continuously throughout the film, in churches, in rehearsals, in performances, in competitions. A couple of reviewers remarked that this is Pitch Perfect goes to church!

The narrative is slight and expected. We are introduced to the Praise choir in a transformed into church warehouse in Atlanta where the congregation gathers to worship and to sing. A range of characters, especially a pastor with life tattooes – who answers criticism by saying that he hadn’t expected in his early life to be a pastor! The central focus is on Sam, a lively Chloe Bailey, whose mother has died, lives in LA with her father, rebels against him and he takes her to his relatives in Atlanta. She meets her lively cousin, Jess, Anjelika Washington, bonding, clashing, having to go to church, putting up with it, but claiming that she can turn any song into a great performance. The Praise Choir sings rather sedate songs – and there are two older women who sit in judgement against them – and with some loud boos and catcalls. However, the choir and the different personalities persevere.

There is a competition, the Praise Choir with Sam, surprisingly (not!) winning against the rather presumptuous other candidates. There is a detour along the way when Sam becomes involved with a well-known rapper and his recording studio.

Definitely a feel-good film, full of gospel music and lyrics, full of dance performance and verve.

SMALL AXE: EDUCATION

UK, 2020, 63 minutes, Colour.

Kenyah Sandy, Sharlene Whyte, Daniel Francis, Tamara Lawrance, Adrian Rawlins., Naomi Ackie

Directed by Steve Mc Queen.

Small Axe is the title for a series of five short films made four British television but seen throughout the world. They are cowritten and directed by British director, Steve McQueen, who won an Oscar for best film with 12 Years a Slave. Each of the films in Small Axe takes up themes of West Indians in the UK ranging from police, education, music… Steve Mc Queen’s films are a reminder of racism in past decades in the UK as well as a reminder of significant figures who have emerged and contributed to British life.

 The films screened at the end of 2020, the year of major protests in the United States, Black Lives Matter.

From Wikipedia: Although the characters in Education are fictional, the film is based on real-life events of the 1970s, when some London councils followed an unofficial policy of transferring disproportionate numbers of black children from mainstream education to schools for the so-called "educationally subnormal". The practice was exposed by educationalist Bernard Coard in his 1971 pamphlet How the West Indian Child is Made Educationally Sub-normal in the British School System.

1. The final in the Small Axe series? The purpose of the series? The focus on West Indian migrants to the UK, living in London, the different generations, opportunities, racism? The focus on the 1970s and 1980s?
2. The London setting, the district, homes and interiors, the schools in the classrooms, the local hall meetings? The background musical score? Rhythms?
3. The title, the focus, the critique of the London system, targeting West Indian children, sub- normal, not recognising talent, engineered IQ test, special schools? Prejudices of officials, principals of schools, teachers?
4. The picture of the school principal, his manners, yet targeting Kingsley, the meeting with his mother? The new school, the testing of reading, the lazy teachers, singing the House of the Rising Sun, the harsh teacher and her lack of care, the recreation period?
5. Kingsley’s story, the opening, the display of the galaxies, his delight, wanting to be an astronaut, his sketches – and the finale with him looking at the stars again?
6. Kingsley, age, personality, in class, unable to read? With his friends, black and white? The principal, sending him to the other school, low IQ? His being unwilling? Separation from his friends? Travelling by bus, hiding in the bus but the friendly driver concealing him? The experience of the new school, boredom? The kids mucking around on the bus? His mother and her severity? His father offering to teaching betrayed? The help from his sister?
7. Hazel visiting the school, meeting Kingsley, seeing the children, confronting the teacher? Saying she was a psychologist? With the woman leading the investigation, the meeting, the mothers present?
8. The family, the mother at work, severe, the visit from the two women, the booklet, explanations, her not reading it, hiding it, the visit to the principal, reading the book, telling the principal off? The going to the meeting, listening attentively? Cooperating? Testing whether Kingsley could read or not? The father, his presence, hard work, upset about his son, wanting him to learn a trade? Amazed at the end at his son’s reading? Stephanie, her own ambitions, fashion, the talent, helping the house, helping with Kingsley?
9. Kingsley and Stephanie going to the special class, the kindly woman managing, affirming, discussions, opening up Horizons?
10. Kingsley, his transformation, hope?
11. The urging of Kingsley’s mother to write to Margaret Thatcher in her education role? Possibilities for change?

A Farewell for Robyn Reynolds OLSH, Yarra Theological Union and Heart of Life Centre

This week Robyn is finishing her teaching at YTU and Heart of Life – and a farewell from each centre. Robyn spent many years in the Northern Territory, did academic studies in Mission Theology.

In Aiming for Excellence, the book on 50 years of the Yarra Theological Union, Robyn has written: over the years – and in the years since I have been at Y to you, different and new roads have been taken, adaptations made, exciting initiatives taken – some have been isolated “events”, others longer term. So, what are you through the years: respectful engaging with all (especially surely, without First Peoples), and making spaces for genuine conversations, for significant learning and teaching and for life-giving, life-growing experiences. When the heart is open, the Spirit breathes.

Heart of Life Centre, Malvern

Asked to contribute a tribute to Robyn for the YTU Alumni Digest, Peter Malone has written:

I am happy to acknowledge Robyn as a sister, a Daughter of Our Lady of the Sacred Heart. We share a motto, “May the Sacred Heart of Jesus be everywhere loved”. This is what Robyn has done through her life and ministry.

She has brought this life to YTU and to Heart of Life.

For many years, Robyn lived, as they say, among are indigenous people. Or, as they should say, with them, sharing lives, spirit and spirituality. Robyn speaks and teaches from this experience.

And this has stood her in good and substantial stead in her work at Nungalinya College, Darwin, reflecting on the encounter between the long centuries, millennia, of indigenous sacred stories and vision, symbolic, interpreting their world, and the stories and experience of Christianity.

Yarra Theological Union

And this is what Robyn brought south, to Melbourne, sharing that wisdom and experience with the multinational and multicultural community that is YTU. And she has shared in the spirituality courses at Heart of Life, and wonderful personal contacts.

She has maintained her friendships, connections, and taking stands. And she has been invited to take this beyond Australia to workshops, retreats, in Papua New Guinea, in the Philippines…

Robyn has served YTU and Heart of Life so well.

THE ENFORCER

US, 2022, 90 minutes, Colour.

Antonio Banderas, Mojean Aria, Kate Bosworth, Alexis Wren, Zolly Griggs.

Directed by Richard Hughes.

A small budget 90 minute action thriller, the type of film that used to be referred to as “straight to video”. Films like this find a wider audience on mainstream streaming services. Its intended audience is that of fans for kickboxing and other multi--martial arts fighting, of which there are quite a number of sequences. Its intended audiences are fans of gangster films, the seedy underworld of cities like Miami, gangster clashes, shootouts. And this is what the film is mainly about.

A rather tired -looking Antonio Banderas is an ageing enforcer in Miami, employed by a crime boss, unexpectedly played by Kate Bosworth. The enforcer has no hesitation in threatening people, brutal confrontations, shooting people dead. And there is a supporting cast of gangsters, seedy characters, seedy clubs, some human trafficking…

The other central character is played by Mojean Aria, the young gangster in the making, very tough in streetfighting, even when he is down, who catches the eye of the enforcer who takes him on as an assistant, something of a mentor. However, the plot is complicated and a touch more humanised by the enforcer’s encountering a teenager who is being exploited, tries to help her, finding that she has been abducted by the traffickers, discovers her again in the club managed by his boss. In the meantime, the young man has been attracted to one of the girls working in the club, beginning a romance.

Ultimately, of course, some violent confrontations, some deaths, the enforcer himself being wounded but able to rescue the young woman – and the young man then venturing onto his own career. As an enforcer? Or has he learned some moral lessons?

The film was directed by an Australian, Richard Hughes and the central character of the young man is played by Australian Mojean Aria.

One of many, many such action films.

. THE INFERNAL MACHINE

US, 2022, 111 minutes, Colour.

Guy Pearce, Alice Eve, Jeremy Davies, Alex Pettyfer.

Directed by Andrew Hunt.

The Infernal Machine is an arresting title for a film. However, it is a surprise to find that it is the title of a novel which has a key role in the action of this drama.

The prologue goes back to Knoxville, 1981, the Reagan era, and the shootings in the university belltower. There are some flashbacks to the interrogation of the teenage suspect, his imprisonment, and the visit of the central character here to the prison. The key to the drama is that the young man claimed that he was motivated to the killings by reading The Infernal Machine.

28 years later, is a remote area of southern California, the author of the novel, Bruce Cogburn, lives as a recluse, aged, more than scruffy (resembling a smaller scruffy Lee Marvin). It seems he has written nothing since The Infernal Machine, despite requests from a publisher. There are some flashbacks to his days as a university lecturer, British accent, fostering the writing of a young man. This film offers a very strong role to Guy Pearce as the author.

Unsolicited letters and parcels begin to arrive at his home, from a mysterious individual from Colorado, giving a phone number – with Bruce Cogburn having to drive some distance from his seclusion to find a public phone, many phone calls, a range of exasperation, an attempt to meet the contact at restaurant but his not turning up. In the meantime, pressure from the publisher and the sending of some pages of manuscript which actually are transcripts of the phone calls.

The author is taken in by a local policewoman, Alice Eve, who tells him she had the book when she was at school.

The audience will be wondering how much of these events are taking place in the mind of the author and how much is real, especially when the tone changes, when the police woman becomes a glamorous private eye, Ari young girl to sing, upsetting the author.

And the audience will be suspecting that the author did not write The Infernal Machine but rather it is Elijah, stolen identity by Cpgburn. The culmination of the film is a confrontation with the student, highly disabled, also a recluse, but having something further written and wanting it published. As with dramatic American stories, the ending is somewhat apocalyptic – and apocalyptic with fire.

1. The title, the tone? The title of the novel? Its influence?
2. The setting, 1981, the Knoxville campus shootings, the accused, in court, his motivations? The Reagan era?
3. The contemporary setting, southern California, remote, Bruce Cogburn and his house, coming into town, the phone booth, stores, police precincts? The shift to the more fashionable sequences, restaurant…? And the final meeting with Elijah, the setup, the mechanisms? The musical score?
4. The prologue and explanation of 1981? Bruce as a lecturer, the encounters with Elijah, encouraging him, the range of the flashbacks between them?
5. 28 years later, Bruce living as a recluse, his appearance, decline, reputation? The letters, the parcels, the address, was going into town, the range of phone calls, repeating them, the possibility of a meeting, at the restaurant, the mysterious caller and not turning up? Bruce and his publisher, not having written anything since The Infernal Machine, the information from the contact, the text of the phone call sent to the publisher?
6. The effect on Bruce, becoming desperate, threats, the encounter with the police officer, her chatter, especially about the book, reading it at school, a later transformation, with little girl, the little girl and her singing, hiring the little girl, fashionably dressed, the restaurant, the threats to Bruce?
7. Bruce, going to the prison, flashbacks to the accused and the interrogation, decades later, the meeting with Bruce, suspicions, the references to the author, the violent outburst? Declaring that the situation would bring the author to the jail? The later sequence of the violence, his death?
8. Bruce, bewildered, pursuing the themes, the taunts from the private investigator?
9. Going to meet Elijah, Elijah and his physical condition, the domino effect and his set up of the mechanisms? The flashbacks? The revelation of the truth about the authorship? The flashbacks to Bruce, his decisions, exploiting his pupil, the rejection of the manuscript with Elijah’s name, Bruce ending up with his own, the publication, the consequences? Elijah with the new manuscript, taunting Bruce?
10. The flame, the explosion, the consequences?

SPIDER-MAN: ACROSS THE SPIDER-VERSE

US, 2023, 140 minutes, Colour.

Voices of: Shameik Moore, Haille Steinfeld, Oscar Isaac, Jake Johnson, Issa Ray, Brian Tyree Henry, Daniel Kaluuya, Shea Whigham, Rita Lee, Mahershala Ali, Elizabeth Perkins, J K.Simmons.

Directed by Joaquim Dos Santos, Kem Powers, Justin K.Thompson.

Whew! And whew again!! Two hours 20 minutes of intense emotion in the Spider-Verse, action-filled, bright colours, descent into darkness, loud, a reminder of what popular movies are these days. And, after the whirl through alternate universes, multi-dimensions, a vast array of Spider-Man characters, male and female, trying to keep track of the original Peter Parker, somewhat overwhelmed to find Gwen Stacey, his girlfriend, now a kind of Spider-Person, but trying to focus on the central character, the engaging desiring-to-be-a hero, Miles Morales, we are faced with the large colourful caption: To Be Continued…

The only possible review is: most definitely for Spiderman, spider-verse fans and devotees. For anyone venturing into this spider-verse, confusion, bewilderment, the need for some kind of a guide.

As regards the quality of the filmmaking, that is a matter for the serious critics who one suspects will not be too enthusiastic. There is a huge, vast, gulf between art-cinema and popular movies.

This is the second of the Spider-Verse films. The first film, 2018’s Spider-Man: Into the Spider-Verse, was highly successful. Marvel Universe audiences had enjoyed various Spider Man episodes, with both Tobey Maguire and Andrew Garfield. Soon after, there was the even more popular series with Tom Holland. There is definitely a broad, worldwide, audience eager for Spider-Man movies. (And, with the reassurance, that the next episode is already in post-production.)

This film is a reminder of the popularity of this kind of entertainment, coming soon after the worldwide box office success of The Super Mario Brothers, the audience attracted by the animation, and not forgetting Guardians of the Galaxy: Involved 3. And, not forgetting the popularity of video games with the younger generation – who, of course, grow into the middle aged generation. (Statistics indicate that the adult audience has been indulging in John Wick 4.)

Impossible to give a brief resume of the characters and events, just that there is definitely a universe of parallel worlds, of multi-dimensions, of alternate portrayals of characters and families, and of a whole range of superheroes, Spider-Persons ready to confront the villains (and hear one who succeeds in making holes everywhere and in himself and falling through to the dimensions), but the focus particularly on Miles, his parents and their being mystified, his heroic quest, and the support of Gwen and her conflict with her police officer father, and the mystery of where is Peter Parker.

The franchise must be attractive since a rather large voice cast of prominent actors have said yes when asked to contribute.

The younger generation hurrying off to see this Spider-Verse show will not read a review – but maybe parents will need some kind of background to be able to give an attentive ear to the enthusiasm of the younger generation.

THE BOOGEYMAN

US, 2023, 98 minutes, Colour.

Sophie Thatcher, Chris Messisna, Vivien Lyra Blair, David Dastmalchian, Marin Ireland.

Directed by Rob Savage.

The press notes say that Stephen King approved this version of his 1973 short story. For half a century, Stephen King has been, one might say, King of horror writers. And, there has been an extraordinary number of films and miniseries based on his stories. This one is, perhaps, one of the slightest stories and films.

One of the problems these days is the use of the word “horror” to describe a film. Once upon a time, horror was more in the line of terror and scares. In more recent times, it seems to be an invitation to indulge in blood and gore. Which is a pity because there have been a number of films lately which emphasise the terror rather than the gore but all promoted under that title of “horror”.

For the most part, this is definitely a terror film – but, with its title and audiences wondering about the shadowy figure, the sinister drawings of the boogeyman, will they see this ominous character distinctly. Answer, yes the film does show the boogeyman but not as in any human form rather than one of those sinister, monstrous creatures that have tended to come from outer space!

The initial focus is on a therapist, Chris Messina, very sympathetic in his sessions, grieving but sometimes unable to face the recent death in an accident of his loving wife. He has two daughters, Sadie in her teens (Sophie Thatcher), Sawyer much younger (Vivien Lyra Blair). Sadie is mocked at school by a group of “mean girls” friends. Sawyer tends to nightmares, having a large light in her room at night. So far, so expected.

Then a strange man intrudes into the house asking the therapist for a session, revealing the mysterious deaths of his children, tense, wanting to shut all the doors, the therapist phoning the police – and the man then killing himself upstairs.

All kinds of speculation about the boogeyman, Sadie starting to take initiatives, going with a close school friend to visit the widow of the dead man, still living in the ruins of their house, 100 candles or more burning in the upstairs corridor – in fact, both houses tend to be dark, staircases, basements, ready for sinister happenings. Sadie, needless to say, is disturbed.

On the family level, the daughters are trying to persuade their father to face the sadness of their mother’s death. On the psychology level, they go to consult a psychologist friend.

More and more things go bump in the night, the boogeyman seeming to have taken up wanting residence with the therapist and his family.

There are some scares, there is an atmosphere of darkness eliciting terror (though the Blood and Gore Brigade will consider the whole proceedings very tame indeed) – but, ultimately, a huge confrontation with the monstrous creature, first of all in the candlelit corridors of the mysterious house, then at home, the basement, confronting the beast, fire.

For the terror audience, rather than the horror audience.

1. The title and expectations? Traditional stories about the boogeyman?
2. Stephen King story, the focus on terror, ultimately the creature? A terror film rather than a blood and gore horror film?
3. The American town, the house and its darkness, bedrooms, therapy office, kitchen, basement? The school sequences? The mysterious house, darkness, candlelit corridor? The musical score?
4. The situation, Will Harper, therapist, sympathetic, his sessions? The death of his wife, the accident, his avoiding facing up to it? Sadie, her grief, wearing her mother’s dress, acceptance of the death? Sawyer, small, sad at the death of her mother? The home life, the bonding of the family, the daughters wanting their father to face up to his grief? Sadie at school, her friend, the mean girls, mocking her? The visit to the house, the possibility of some kind of friendship, the drugs, Sadie being sick, the girls laughing at her?
5. Lester Billings, intruding into the house, wanting the session, the revelation about the deaths of his children, his suspicions, closing the doors, going upstairs, killing himself? Sadie, her curiosity, listening to the tape of his session, finding his address, going with her friend to the house, the search, the candles in the corridor, darkness, the sudden encounter with Billings wife, the confrontation, the explanations, her escape?
6. The family visiting the therapist, advice? Sawyer and her fears, the bumps in the house on the night? Sawyer and her reliance on Sadie?
7. The eerie happenings, the effect on each of them, the father upset, Sadie and her determination, Sawyer and her fears? Sadie’s decision to return to the house, the wife, the wife tying up Sadie, the arrival of the boogeyman, it is sinister creature appearance, the fights and confrontations, Sadie’s escape, the house burning? The return home, the creature in the house, the family in the basement, defending themselves against attack, the fire, the escape, the house burning?
8. And the destruction of the boogeyman? Or not?

BURN OUT

France, 2017, 107 minutes, Colour.

François Civil, Olivier Rabourdin, Manon Azem, Samuel Jouy, Sam Louwyck.

Directed by Yann Gozlin.

For audiences who have seen Centauro, Burn Out will seem very familiar – and vice versa. The main reason is that the writing team is responsible for both films.

Burnt Out is French, a focus on drug dealing, on an international level from France to Holland. It is also a story of motorcycle racing. François Civil is Tony, a young man, ambitions to ride, a labouring job, a relationship with a girlfriend and a son, her betraying him, hiding drugs in the house, their being stolen, and her being in debt. The core of the story is Tony’s love for his girlfriend and his decision to go to the dealers and act as a motorcycle courier, for two months and then the debt repaid. The film focuses on the various journeys and the dangers, the attitudes of the dealers, the violence inherent, deals with Arab dealers, betrayals, and locals. Tony does get an opportunity to fulfil his ambitions in motorcycle riding but is caught up in the courier demands and fatigue.

The buildup to a final confrontation – and Tony walking, riding, free.

The later Centauro is very similar and plot, the locations in northern Spain into France – and, a variation, the central character caught by the police and employed by them to deceive the criminals and their arrest. Perhaps this could have been the further continuation of Burn Out.

1. Motorcycle story? Professional racing? Drug courier?
2. The French settings, the town, homes, drug dealers, officers, the road through Belgium to Holland? The musical score?
3. Tony, his story, age, relationship with Leyla, his son, his work, love for bikes, racing? Leyla’s story, drug associates, hiding the drugs, their being stolen, the money demands? Tony, love for Leyla, going to Miguel, the decision to be the courier, the preparations, the journeys, the drugs, the rendezvous, the speed, police pursuits? Jordan and his animosity, control? Tony and his wanting to ride, Mike Patterson, the invitation, the demands? The two months contract with the dealers, the end of the two months, the last ride, Leyla warning him? The Arab connections, the double deals? The local African-French dealers? The final confrontation, the attack on Jordan, Tony lying to Miguel, going to the rendezvous, the fights? Tony being beaten, taking the bike?
4. Leiya, Portuguese background, the relationship with Tony, the son, the domestic scenes?
5. Miguel, drug dealers, the organisation, Jordan, t hostility towards Tony, making further demands, the deals, trafficking, Holland, connections and double cross?
6. The immersion into the world of drug dealing, Tony and his choices, motivations, consequences?

SAVE THE CINEMA

UK, 2022, 109 minutes, Colour.

Samantha Morton, Owain Yeoman, Tom Felton, Erin Richards, Jonathan Pryce, Adeel Akhtar, Colm Meany, Joe Hurst, Owen Teale, Susan Wokoma.

Directed by Sarah Sugarman.

In 2022, two British films focusing on saving cinemas were released, early in the year came this film, Save the Cinema, set in 1993, the town of Carmarthen, Wales, its old Lyric Theatre. At the end of the year came Sam Mendes rather more epic and complex film about saving cinema, Empire of Light, the Empire cinema in Margate.

Save the Cinema was written by Piers Ashworth, something of a specialist in small town humane stories, the two Fishermen’s Friends films, Bank of Dave. It is more of the homespun story, touches of sadness, touches of humour, touches of satire (especially with Adeel Akhtar’s over-the-top performance as the Mayor). Empire of Light was written and directed by Sam Mendes, with much more complex themes and human interactions, mental issues, racist issues in England – and the setting is 1981.

Samantha Morton gives a vigorous performance as Liz, the director of theatre in the town, using the Lyric Theatre, remembering her performances along with her now husband, David (Owain Yeoman). Samantha Morton has had a long career in British and American cinema, working with significant directors including Oscar nominations in Woody Allen and Jim Sheridan films, and, in 2022, very strong performances in The Said and The Whale. She is at the core of the protest against the demolition of the Lyric. Jonathan Pryce has an enjoyable cameo as an old teacher supporting the saving of the Lyric there is a very strong supporting cast including Tom Felton, very different indeed from his performances in the Harry Potter films. Coal Meany is the villain is the developer. For those who enjoy cinema nostalgia, the plan to raise consciousness in the town’s discovery of the old cans of the 1941 classic about Wales, How Green was My Valley, people turning up to see it, and standing to sue join in the Welsh songs from the film.

In Empire of Light, the plan to save the Cinema was to have the premiere of Chariots of Fire. In Save the Cinema, the plan is to have the premiere of Jurassic Park, an appeal to Steven Spielberg himself to supply the copy and the Welsh turning the clock forward five minutes so that they could have their premiere just before that in London with Princess Diana! (Samantha Morton had worked with Steven Spielberg in Minority Report.)

This is a very enjoyable piece of British nostalgia.

1. The title, cinemas of the past, their status in towns, the coming of television, changes, audiences not going to the movies, the buildings, and visions of developers?
2. Wales, the setting, the town of Carmarthen, the past, the school, the theatrical performances, the audience, Jesus Christ superstar, Mr Morgan and his encouragement? Liz and David, the aftermath?
3. 1993, the old Lyric, audiences not going to the films, the developers of the plan to make a shopping centre? Inevitable changes in towns? Yet the memories, the heritage…?
4. The film based on a true story, Liz and David, the photos during the final credits? The significant careers of their actual children? Their memories of growing up, the plays? The plan to put on Oliver, the auditions, the songs? The use of the Lyric?
5. The mayor, the touch of caricature, the subcontinent background, in England, in Wales? Susan as his assistant, her strong qualifications, his treatment of her? The approach of the developer, the discussions, the money? The visit to the site, the plans for demolishing?
6. Liz, the marriage to David, their children, her love of the theatre? David and his work, the issues of more jobs for building the shopping centre? The news about the demolition? Her response, taking a stand, going to the theatre, occupying it? David and his visits, pleading with her? The children, their support, the older son and his criticisms? Her taking up residence?
7. Liz, her work as a hairdresser, the clientele, the scenes in the shop, Dolly, her jovial nature, modern – drugs et cetera, her work, supportive Liz? The transfer of the hairdressing to the stage of the theatre? The mayor and his complaints, the developer and the confrontation? Susan, hearing the news, coming to the rescue, her legal background, stopping the proceedings?
8. The timing, the demolishers, everything ready, the heavy equipment, Liz appearing at the window, Susan and the stay for demolition? The various schemes?
9. Richard, his place in the town, the postman, his qualifications at Open University, the visits to the mayor, the mayor getting him onside, Richard and the attraction to Susan? His being caught up in the plan? The meetings, his eyes being opened, the screening of How Green was my Valley, his changing sides? His involvement?
10. Mr Morgan, his support, the projection room, explaining it to Liz, his memories of the past, the plan to get the film, carrying it to the theatre, the setting up? The family and the printing of the leaflets, the distribution, people turning up, his not knowing the film (not seemingly likely), in black and white?
11. The audience, the crowds, the screening, the Welsh songs, the audience singing?
12. Mr Morgan, his death, the funeral, the plan for the demolition during a funeral, Susan hurrying, the cars, the blockade, stopping the demolition?
13. The delay in the demolition, the pressure on the mayor, Susan and her help? David, supporting leaders, the children? The ladies of the town, Dolly and her efforts? Richard and Susan?
14. The plan for a film, the news about Jurassic Park, the plan to screen it, a premier, contact with Steven Spielberg, the long delay, the final phone call, Spielberg and his promise, coinciding with the London premiere and Princess Diana present, everything set up, the theatre renewed, wanting to be ahead of the London premiere, changing the clock ahead for five minutes, the screening, John Williams’ musical score, the audience response?
15. The defeat of the mayor, the defeat of the developer, frustration? The suggestion that Richard stand for man, the campaign, the bond with Susan, the future?
16. An enjoyable film of British nostalgia? Nostalgia for cinema?

EMBRACE: KIDS

Australia, 2022, 77 minutes, Colour.

Directed by Taryn Brumfitt.

In 2016, Body Image campaigner, Taryn Brumfitt, made the striking documentary, Embrace. It was an extensive film highlighting the importance of body image, the fact that so many people were not comfortable with their body, with their image, and the film offered techniques and advice about how to be accepting of one’s body. This documentary focuses on the younger generation, the same issues but tackling them at an earlier age.

Taryn Brumfitt was Australian of the year, 2023, this giving her a more prominent platform for her campaign.

Best to indicate her approach with a text from her website: The Body Image Movement (BIM) is an international mission to help people embrace their bodies. It was founded on the belief that your body is not an ornament, it’s the vehicle to your dreams. BIM believes that everyone has the right to love and celebrate their body, regardless of shape, size, ethnicity or ability.

Through educational resources, events and a whole lotta inspiration from founder Taryn Brumfitt, the Body Image Movement is teaching the world to love the skin you’re in.

Taryn Brumfitt also established the website, Embrace Hub. This is very much a site for children, the production of this documentary, the production of a book, the website and its continual resources: Body Image is a complex issue. We know it’s consistently ranked in the top 3 issues of concern for young people (Mission Australia Survey), but knowing what to do about it is a bit trickier.

Enter the Embrace Hub. This site is your go-to for all things Body Image, from resources backed by (non-boring) science to inspiring stories from people around the world – including the stars of the Embrace Kids documentary!

The brief documentary focuses on a quite a range of children, talking heads, explaining their attitude towards their body, not being conscious, discoveries, dislike, criticisms and bullying. These sections of the documentary are very helpful for education purposes. In the latter part of the film, there is a focus on various adults as well as body issues, the focus on a boy/girl, Audrey Mason-Hyde, giving a TED Talk at a young age, later being interviewed, the musical group,, Electric Field, an American educator film with a number of young people with a body limitations, affirming them.

There is a great deal more material available on the respective websites.