RIP, Michael Moir-Bussy

Many MSC of the older generation will be saddened to hear of the death of onetime confrere, Michael Moir-Bussy, who died in Port Moresby, January 13^th and buried from the Cathedral, January 18^th.  There are memories from the 1950s and 1960s, the Apostolic School, Novitiate 1958 (ne of 15 novices), Croydon Monastery, Canberra Monastery – and his being on the foundations staff at Daramalan.  He kept his great interest in the MSC over the decades (sometimes clicking Like on a news item on the Province website).

Here is the memory tribute from the generations of his family.

The Moir-Bussy, Buskens, Stephens and Kopkop family would like to announce the passing of their father, grandfather and great grandfather, Michael Moir-Bussy, on January 13th, 2023.

Michael was born in England and raised in Australia, however if you asked him where he was from, his reply would be Papua New Guinea. Having lived, loved and worked in PNG for 50 years, Michael leaves behind a legacy in his long career.

The Daramalan staff, 1962, photo at Caberra Monastery, Left to right, Terry Naughton, John Phelan, John Dempsey, Fred Ross and Michael.

In Michael’s early years, he commenced studies in Theology and Philosophy at the Sacred Heart Theological Seminary in Croydon, Victoria, Australia. Following teacher training at St Edmunds Christian Brothers College in Canberra, Michael was one of the founding teachers at the Daramalan College. However, it was during a visit to Port Moresby where his parents worked as lay missionaries, that his calling to Papua New Guinea (PNG) began.

From the 1960s, he has had over thirty years public service, including military and police experience, in PNG.

Michael started his career in the Department of Posts & Telegraph before moving to roles in the Public Services Commission (PSC). Some of his earlier missions included visits to Madang, Kavieng and Rabaul for Independent Advocate Bob Hawke (1966). When the newly formed Public Service Board was established, he became Executive Officer (EO) under Chairman Gerry Unkles (1969).

Michael developed a specialty in Organisation & Methods (O&M). He set up the Specialist Services Section in the PSC and taught officers from various PNG Government Departments in O & M techniques. In his role as Assistant Inspector Methods, he also taught Advanced Management at the Administrative College (ADCOL, 1970), teaching, amongst others: Philip Bouraga, Noel Levi, Israel Edoni, Joseph Nombri, Jack Bagita and Ted Diro.

During his time at the PSC, he was EO to Chairman Rabbie Namaliu on the Budget Priorities Committee (1979) and was a member of the ToRobert Committee examining administrative problems in the National Public Service (1979).

In addition to his public service career, Michael concurrently undertook military training in PNGDF Goldie River Barracks and at the Jungle Warfare Training Centre, in Canungara, Queensland. In 1975, Michael was commissioned as Officer in the Papua New Guinea Volunteer Rifles (PNGVR) of the Australian Army. He also became a member of the Royal Papua New Guinea Constabulary (1981) where he achieved the brevet rank of Superintendent.

Michael then transitioned to a career in police and security. He was EO to Minister of Police, Hon Warren Dutton (1980), before becoming EO to Police Commissioner Henry Tokam QPM (1981). He then assumed the role of Planning Officer in the PNG Department of Police (1984). During the 1985 State of Emergency in Port Moresby, Michael was appointed as EO for the Task Force on law and order, and later became Second in Command and Planner of the elite Force 10 Police Unit.

Michael commenced at the University of PNG as Officer-In-Charge of the Security Force in 1988 and would later return as the Chief of Security in 1998.

Michael was appointed the first Registrar for the PNG National Gaming Control Board (1993), before completing his distinguished public service career as EO to NCD Governor Philip Taku, MBE (1997).

In 1983, Michael and his wife, Maria Kopkop, laid the foundations of the former Bambi Day Care & preschool and eventually to Primary School and secondary school. The school had its humble beginnings at their family home in Gerehu.

For the next four decades, they worked together focusing on the development of Kopkop College with campuses built in Gerehu and Kavieng, and classes from Early Childhood Learning to Grade 12. His support and contributions were immense from policy, process and procedures, training and development, physical infrastructure to providing guidance and wisdom.

Michael supported and devoted his life to his wife, Maria Kopkop, and their families. He was a pillar of strength and resilience, providing wisdom and guidance to his wife, children and grand & great children. He leaves behind his family in Canada, England, Australia and Papua New Guinea. He also leaves behind his extended family, the staff and children of Kopkop College in NCD and New Ireland.

A PS – an anecdote from Croydon days. Michael Moir-Bussy played the housekeeper in Shadow and Substance, put on for Fr Moloney’s Golden Jubilee, 1959. However, Fr Moloney was going deaf and had a proportionately resonant voice. At a moment of quiet intensity in the play, with the housekeeper speaking in an earnest tone, suddenly from the front row, from the seat of honour, came the growl, 'Speak up, girlie, can't hear you'.  

Eminent Downlands ex-students (and one from Monivae)

Rome Correspondent, Tim Brennan MSC let us know that in Rome mid-December an international conference on ‘Catholic Schools and Religious Liberty- a global perspective’ was hosted by Notre Dame USA and ACU.

Three Downlands College ex-students presented lectures. 

One Martin Daubney is the ACU Chancellor and an ex Downlander -interestingly the previous ACU chancellor was from Chevalier College.

Another is Associate Professor Patrick Quirk who has worked in tertiary education in Europe, USA and Australia.

And the third Dowlander is Fr Frank Brennan SJ currently Rector of Newman College Melbourne University.

Monivae College had a representative present as well – our correspondent!

RIP, Sr Catherine Mary Crocker OLSH (25.10.1928 - 11.12.2022)

'This is my beloved in whom I am well pleased’

These words from the Gospel of Luke are a beautiful summary of our Sister, Catherine Mary’s whole life: a rich life of 94 years, lived with Jesus and for Jesus. On Sunday 11^th December our dear Sister, Catherine Mary, gently and peacefully breathed her last breath as she surrendered to her loving God whom she had served lovingly and faithfully as a Daughter of Our Lady of the Sacred Heart for 73 years. 

To Catherine Mary’s relatives and friends who loved her so much and are deeply saddened by her death, we offer our deep sympathy and love. You know well her deep love for you, her pride and joy in you, and her gratitude to you.  We also offer sympathy to those who join us via live streaming from around Australia and the world, especially our Sisters.

Aileen Kathleen Crocker, was born in Booleroo Centre, South Australia, on 25^th October 1928, to James and Katherine Crocker, the third of four children. The family lived on a farm in a rural community where all in the neighbourhood were known to each other and cared for one another, especially when many struggled to keep their farms going. Catherine Mary’s mother was an excellent cook who made sure the children never went without during the challenging years of the Depression.   Her parents lived a life of integrity and their strength during the difficult years living in rural Australia came from their deep religious faith.

Catherine Mary attended primary school in rural South Australia and completed her secondary education, as a border, at St Aloysius College in Adelaide. It was here that she enjoyed reading the stories of the missionaries and as a young girl felt called to follow Jesus as a missionary Sister. And so, in 1947 she entered the novitiate at Hartzer Park and made her first vows in January,1949.

Upon graduating from our her Primary Teacher Training course, Catherine Mary, began her epic voyage to Kiribati. It was a long journey on a phosphate ship to Ocean Island and from there on a smaller ship to Teaoraereke. Despite the challenges of extreme heat, lack of resources, living in a difficult isolated Mission, Catherine Mary herself commented ‘it was great, I loved every moment of it’.

Catherine Mary taught on six of the sixteen islands in the Gilberts Group (as Kiribati was then known). She enjoyed teaching the young girls and recalls the students being delighted when the food stores shipped from Australia, on the Santa Teresa, arrived. The stores consisted of flour, milk, butter, tinned meat and jam. The morning that the Santa Teresa arrived with the provisions school was cancelled and Catherine Mary spent the day in the kitchen baking, where she made the best bread the girls had ever tasted. In her words it was ‘Bonza’.

Catherine Mary returned to Australia in 1958 because of poor health. After a break she resumed her teaching ministry and taught in several OLSH Primary Schools in Queensland, NSW and South Australia. From 1972-77 she spent five years as Principal of St Brigid’s Primary School in Kilburn and as Community Leader of the Kilburn Community. She enjoyed living in this multicultural area where the people were accepting on one another and kind to each other…in her words; ‘the people of Kilburn were very good people’. As a Community Leader she was sensitive to the Sisters’ needs, she was kind and very hospitable. She enjoyed organising community gatherings where one was assured of some of her homemade treats.

After finishing teaching in 1977, Catherine Mary found herself doing what she loved, cooking. She cooked for the Sisters in community at Kilburn, Botany, Bentleigh, St Joseph’s and Kensington. In 1996 she began her ministry as the Supervisor of the Auxiliary Staff at St Joseph’s Aged Care Facility and was responsible for the day to day running of the Kitchen. Catherine Mary was a hands-on leader and when she saw a need she responded. When staff were unable to attend work Catherine Mary graciously filled in for them.  In this role she is remembered as a lovely sister who cared for the workers and always treated them with kindness and respect. Sr Catherine Mary was generous with her time and her skills and is well known for working late into the evening making beautiful Christmas Cakes for the Sisters, our MSC brothers and others.

Besides cooking I have heard Catherine Mary enjoyed sport. A favourite family story is of her playing tennis with two nephews, she was dressed in full habit and nearly bought the local traffic to a crashing holt.

Catherine Mary was a beautiful Sister and those who lived with her remember her as a gracious, unassuming, and down to earth person who treated everyone with equal dignity and respect. When it was becoming apparent that Catherine Mary’s health was failing and she was asked to transfer to St Joseph’s Aged Care Facility, she accepted the decision with her typical graciousness. It was here that she was beautifully cared for until her death.

We will be ever grateful to James and Katherine and the Crocker family for the gift of Catherine Mary to our Congregation!

Go in peace dear Catherine Mary united with the one who says, ‘This is my beloved in whom I am well pleased’. Thank you for your faith filled witness and your beautiful generous heart.

May your gracious soul rest in peace.

Philippa Murphy  fdnsc
Provincial Leader

20^th December 2022

THE AMAZING MAURICE

Germany/UK, 2022, 93 minutes, Colour.

Voices of: Hugh Laurie, Emilia Clarke, David Thewlis, Himesh Patel, Gemma Arteton, Julie Atherton, Rob Brydon, Hugh Bonneville, David Tennant.

Directed by Toby Genkel, Florian Westermann.

Very enjoyable.

And, very enjoyable for older audiences with Enid Blyton memories, with AA Milne memories, Peter Rabbit memories… And, of course, an entertainment for younger audiences. The added benefit is that it is based on a novel by celebrated British author, Terry Pratchett, an author of delight, imagination.

The credits remind us that the original story by Terry Pratchett was called The Amazing Maurice and His Educated Rodents. So, a cat and mouse story, so to speak, with some nods to the Pied Piper, playing with the tradition and Robert Browning’s poem.

The film is a computer-generated animation, a German/United Kingdom production, the animation and directors German, and the amazing voice cast, British.

But, the question arises, who is Maurice? And why is he amazing? The character who answers these questions at length during the film is, of course, Maurice himself. He is a large ginger cat, rather desperate to be known as Maureece. But, the film is opened by a young woman, Malicia, an avid reader who tells the animated story of Mr Barnsley, a well-dressed rabbit. And then she herself, the mayor’s daughter, becomes a character in the story she is telling (and she asks, why not).

The town where we find Maurice is being plagued by rats, and the screenplay spends some time creating different characters, the Boss, Peaches, the wise old counsellor, Dangerous Beans. What can the townspeople do to rid themselves of the rats. Maurice produces a nice young man, Keith, who plays the flute – and, the rats all following him, diving into the river, the townspeople happy, and the rats emerging downstream, drying themselves off, congratulating themselves on the scam and the money Maurice raised. And, why not do it again! They want enough money to find a paradise like the character in their favourite book, Mr Barnsley.

In the next town, there are no rats, but two sinister rat catchers holding the town to ransom, no food. Which makes the scam very difficult, they need to find some rats to be rid of! Lots of complications follow, Malicia taking initiatives, Maurice doing his best, and a whole lot of adventures, the challenge of a power that draws rats to itself, a glimpse of the Grim Reaper (and a small skeletal rat version), romance, Malicia and Keith, of course, and some wonderful self-sacrifice by Maurice.

The animation is bright. The action is lively. The screenplay is humorous. And, a wonderful voice cast, Hugh Laurie enjoying himself and reminding audiences of his past comic and serious roles, as Maurice. Emilia Clarke has experience in being a leader from Game of Thrones and makes a vigorous Malicia. Himel Patel (yesterday) is Keith. Hugh Bonneville is the Mayor. And David Tennant is the wise Dangerous Beans.

Watching The Amazing Maurice again would be very enjoyable.

1. An entertaining animation film, German production, computer animated? British voice cast? An entertaining combination?
2. The writing of Terry Pratchett, his imagination, inventiveness? The full title, The Amazing Maurice and His Educated Rodents? An enjoyable adaptation?
3. The animation, bright and colourful, the characters and their liveliness, characteristics, the range of action, the music and song, the enjoyable plot complications, dangers, death, romance – and a happy ending for all?
4. Maurice, his character, large, his origins, ginger, Hugh Laurie’s voice and intonations? Leadership? Wanting to be called Maureece? With Keith, with the rats, his organisation, the scam, success? Moving on to the new town? The rat catchers, the musician, the mayor and council, no food? The need to find rats? Maurice and his working with Malicia?
5. The rats, audience response to them, their mischief in the town, the townspeople wanting to be rid of them, stereotypes of rats? But the group, individual characters, voices, personalities? The scam, following Keith, into the water, getting out, the great desire to find that paradise? Mr Barnsley, a rabbit wearing clothes, his happy home? The new town, no rats, the search, the dangers, the giants, sinister character, being a magnet to draw the rats, unwilling, the death of Dangerous Beans, the destruction of the rat character, the Grim Reaper, the small rat version, the confrontation and Maurice giving two of his lights, Dangerous Beans and his revival?
6. Malicia, her personality, talking to the audience, explaining the conventions of storytelling, reading the book, becoming part of the action of her storytelling, the mayor’s daughter, with Maurice and the plan, meeting with Keith, the attraction to Keith? The dangers, the confrontations, her leadership? And the romance with Keith?
7. Keith, quiet, racial background, voice? Music, timid, playing and leading the rats? His being part of the scam? The adventures, the recovery of the flute? The attraction to Malicia? The kiss?
8. The humans, in each of the towns, the mayor and his counsel, the rat catchers, sinister?
9. The variations on the Pied Piper, the role of the cat, his giving two of his lives for the recovery of Dangerous Beans? The sympathetic rats? And the happy ending?

M3GAN

US, 2022, 102 minutes, Colour.

Alison Williams, Violet McGraw, Amie Donald, Ronnie Chieng, Brian Jordan Alvarez, Jen Van Epps, Stephane Garneau-Monten, voice of Jenna Davis.

Directed by Gerard Johnstone.

If Mary Shelley was living today, she would be eager to see M3gan. It is the latest version of the archetypal novel, Frankenstein. But, here it is, in the age of artificial intelligence, and progress in robotics. So, the basic story is not new, rather, centuries-old. And the world of AI and robotics has been the world of many dramas and thrillers in recent years.

M3gan (Model 3 Generative Android) has been promoted as a horror story, coming from Jason Blum and his Blumhouse productions, specialising in horror thrillers, more prolific in recent years, and more upmarket.

But, it is somewhat misleading to type M3gan as a horror film. Rather, in the vein of several of the films of 2022, film is more of menace and fear rather than blood and gore, though they have their moments, of course, Smile, The Black Phone, Barbarian, Sissy…

In fact, production notes indicate that a decision was made during production to get in an American PG 13 rating, toning down the violence, aiming for a wider audience. And, this works. There is much more going on than any excursions into horror moments – although, there are a couple of deaths during the film and, as expected, quite a buildup in the last 15 minutes to menace, violence and destruction.

In fact, most of the film works as a psychological drama. Cady is a young girl whose parents are killed in a car smash. Her mother’s sister, Gemma, takes on responsibilities for her care. But, Gemma has very few parenting skills, is a career woman, in fact, something of a genius, creating robots, with an especial aim of creating a robot doll who can be a companion to a child, always gathering information, adjusting the information to be able to relate to the child personally, empathy and understanding.

Rather neglecting the grieving Cady, Gemma spends her time perfecting her prototype robot, called M3gan, working with her team to impress the go-getting boss (Ronnie Chieng, popular as a comedian in Australia). M3gan is constructed to be a companion to Cady – but, in the psychological issues of the film, becomes a substitute mother-figure, understanding, ever-present, and protective. And we know that the protection will be assertive and, eventually violent.

When the prototype is approved by the company and a promotion video screened, and preparation for a spectacular launch, matters come to a head. And, by that time, the audience is prepared for M3gan asserting herself, over-protective, and then a matter of survival!

The scientist creating this 21^st-century little girl robot Frankenstein monster is played by Alison Williams, sympathetic but the audience wishing she could be more motherly. Violet McGraw is very convincing as the young Cady. M3gan has two performers – Amie Donald acting but with the voice of Jenna Davis, just the right blend of sympathy and menace.

The film works well because of the psychological dimensions throughout, the tantalising sequences as Cady and M3gan become more interdependent, the atmosphere of menace culminating in the PG 13 violent confrontations.

1. A menace horror film? Moderate in violence? The Blumhouse films?
2. The 21^st century version of the Frankenstein story? The scientist, IT laboratories, robotics, the monster, the consequences?
3. The film as a psychological story, the death of the parents, the little girl orphaned, grieving, her aunt’s care, around busy, the psychiatrist and observation, M3gan as her doll, companion, dependence?
4. The tone, the opening, Cady and her constant attention to her computer, the toys, screen time? Tantrum behaviour? The parents, jovial, the snow, no chains, waiting, the crash?
5. Cady, age, in her aunt’s care, the house, Gemma busy, left alone, the toys, the introduction to the robot, Bruce, its abilities, Gemma controlling it, the ending, Bruce confronting M3gan, Caddy manipulating Bruce?
6. Gemma, her work, skills, age and experience, her team and the bond with them? Creating Bruce early, demonstrating it, controlling it? The plan for M3gan, the acronym? The mechanics, the IT, the brain, programmed for information, adaptation and behaviour? The face, the skin?
7. David, his company, his manner, costs, assistant, Kurt? Confronting Gemma, the time limits, finance?
8. Gemma, the success with M3gan, introducing her to Cady, M3gan programmed to understand Cady, the information, the adaptation, gauging the moods? The voice, intonations? Being able to be turned on and off? Keeping guard over M3gan, protecting her? The companionship, two little girls together?
9. The next door neighbour, the vicious dog, intruding through the whole, biting Cady, M3gan and her vengeance? The neighbour, her continued complaints, calling her dog with the food? The police and complaints? Her going onto the street, knocked over by the car?
10. The work with the psychologist, observing Gemma and Cady, wondering about interdependence? M3gan’s behaviour?
11. Education, an alternate homeschooling, the cheery leader with the children, the cook and chatting with Gemma, Brandon and his violent behaviour, paired with Cady, tormenting Cady, M3gan on the shelf the toys, coming to Cady’s rescue, the confrontation with Brendan, his attack, her pursuit, is rolling down the hill, run over? Police inquiries?
12. Gemma and her assistants, the concern about M3gan and mothering? Gemma and mothering?
13. Kurt, transferring all the data to his computer, David and his treatment? The later confrontation between M3gan and Kurt, killing him?
14. David, the enthusiasm, the demonstration, M3gan and caddy talking, unscripted, the consolation, the observers, the woman weeping? The boss, agreement to the contract, to be ahead with toys, the $10,000 pricetag, upping Gemma’s salary?
15. Cady, tantrums, dependence on M3gan, the demonstration, Gemma taking her home?
16. David, wanting crowds for the demonstration, the enthusiasm with the video screened?
17. David, the confrontation with M3gan, her confronting Gemma’s workers but their being saved? The pursuit of David, the elevator, Kurt, the deaths? The crowd and the reactions?
18. M3gan, the house, playing the piano, her explaining herself, gauging the situations? The fights, the confrontation with Gemma, with Cady, M3gan resenting her? Cady, the manipulation of Bruce, destroying M3gan?
19. The psychology throughout the film, parenting, dependence? With the 21^st-century robotic Frankenstein monster?

Farewell Krish, Welcome Bartha, St Therese Parish Moonah-Lutana.

On the weekend of January 7-8, farewell to Krish after three years (including lockdown year, 2020). And words of farewell.

Fr Krish came to St Therese of Lisieux three very short years ago and within a matter of weeks after just getting to know the parishioners’ names we were struck down across Tasmania and Australia with Covid. As Fr Krish mention in his homily today, that he most likely will be remembered as the Covid priest or more aptly the PPP {Pandemic Parish Priest}. But I really hope that the Parish remembers him more fondly as the priest who always had a smile on his face or a hearty laugh. I realise that being so far away from family has been difficult for you, but having your sister and her husband here with you today, helps you to know that your family is with you always. And speaking of family we hope that you continue to feel a part of this family that is gathered around you here today. You are not just our Parish Priest but are truly a friend. You mark a part of the Parishes history and will be known as a past Parish Priest through this history.

You have thrown yourself into the life of this Parish, you have built many friendships across the many nationality groups and gathered nations together. The greatest achievement I believe that your legacy will be to our community, is the multi-culturalism that you have grown and nurtured over your time here at St Therese’s. If anything, the many different nationalities here today is testament of your work in the Parish.

We know Goodbyes are not what any of us like, but we need to let you know, how we have appreciated your spiritual guidance, leadership and friendship. On behalf of the parish please accept this small token of our appreciation and we wish you good health and happiness for the future.

Welcome to Bartha, MSC from India, installed as the new parish priest.

Long-serving deacon and strong parish anchor, Michael Hangan, with parishioners, celebrating.

Paul Castley MSC, representing the Victorian-Tasmanian community and community leader, Philip Malone MSC. 

And no one went hungry.  (and thanks to Michael Hangan and Paul Castley for photos).

BELLEVILLE COP/ LE FLIC DE BELLEVILLE

France, 2018, 111 minutes, Colour.

Omar Sy, Luis Guzman, Biyouna, Diem Nguyen, Julie Ferrier, Franck Gastambide.

Directed by Rachid Bouchareb.

This is an action comedy to put audiences in a good mood (except those who are prone to look down on this kind of action comedy!).

As can be seen from the title, while the location is a region of Paris, the name has echoes of Beverly Hills. And the filmmakers have no apology in drawing from the Eddie Murphy thrillers, with the touches of Eddie Murphy comedy, the Beverly Hills Cop series. The director says there are also the influences from Eddie Murphy and Nick Nolte in 48 hours – and there are verbal references to Lethal Weapon.

The film is another example of the work of an odd couple.

Genial actor, Omar Sy, especially remembered from  The Intouchables) is Babaa, belongs to the Belleville police force. He is rather happy-go-lucky, has a girlfriend who raises difficulties about where they should live – especially because he lives with his mother. There is a very funny performance by Biyouna as the continually critical mother, demanding on her son, completely transformed when she goes with him to Miami for his further investigations.

In the meantime, there is a grumpy American cop, Ricardo, played by veteran Luis Guzman – who also has problems with his mother in care. He is almost knocked over by a car and pursues the driver who turns out to be a very haughty lady with political connections.

In the meantime, Babaa is having a meal with a friend who is working in the consulate in Miami, with information about drug deals. And he is shot at the restaurant, his friend in pursuit, killing one of the attackers – and later to encounter the other. The decision is that he go to Miami for further investigations of the case. And his mother…

As we expect, he is linked with Ricardo, who is rather despising of Barber and they tangle quite a deal. However, with a lot of comic touches and the clashes of the odd couple, with the support of the officer from the consulate, they begin investigations, Ricardo very serious, Babaa rather enjoying the social life of Florida, and seeing his mother installed in a beautiful house, the attentions of the chauffeur, her being transformed, clothes, make up, personality.

But, there is method in Babaa’s seeming madness, getting a clue about the importation and transfer of drugs from Venezuela to Africa, the cover of a charity for orphans, run by a couple from the African country. Babaa intrudes on a meeting – and the wife of the couple in charge of the charity turns out to be the driver who attacked Ricardo.

Lots of action, lots of complications – and, eventually, the couple going to Africa, where there is been a coup, the police chief very cooperative, more action and in the desert, confrontations, shootouts…

This is not meant to be a serious drama of police investigation but, rather, an odd couple buddy’s action comedy. The writer-director had a strong reputation for serious dramas including Little Senegal, Days of Glory, London River – and this film seems to be the third in a trilogy of films made in America, Just Like a Woman with Sienna Miller and Two Men in Town with Forest Whitaker.

THE SKIN OF THE WOLF/ BAJO LA PIEL DE LOBO

Spain, 2018, 110 minutes, Colour.

Mario Casas, Irene Escolar, Ruth Diaz, Kandido Uranga.

Directed by Samu Fuentes.

This is a serious portrait of a Spanish mountain man at the end of the 19^th century, living alone, hunting, deer, walls, collecting skins, treating them and bringing them to the town for sales. He lives a solitary life. Because of this life he tends to be brutish, especially in his attitude towards women.

The mountain man is played by the Spanish star, Mario Casas, featured in many thrillers, a popular star. Here, he is laconic, bushy beard and hair, mountain clothes, first seen trapping a deer, confronting the wolves, continuously at work, coming into the town.

When his friend at the bar advises him to take a woman to his home, he is hesitant but then does a deal with the father of the woman with whom he has sexual encounters when visiting the town. She returns, fulfils her role, the sexual presence, but no real relationship between the two. She is already pregnant, miscarries, dies – the hunter distraught, smashing all the crosses in the cemetery (he lives near the ruins of an old town). When he brings the body down to the town and gives it to the father who knew the situation of his daughter, the father then offers his youngest daughter on the condition that they marry.

Life resumes in the mountains, the wife treated as a sexual object, no personal response from the Hunter, the wife doing all the chores, becoming pregnant, miscarrying.

However, her father has given her some poisonous herbs in case of a crisis. The wife grinds the herbs, begins to poison her husband. She attempts an escape, foot caught in a trap, brought back by the husband.

The film opens with long shots of beautiful mountain photography in Asturias, to be contemplated throughout the film, the various seasons and the blend of harshness and beauty. In fact, the film could be called contemplative in observing and life of the mountain man, his work, patriarchal traditions concerning women, the elements of the brutish in the male character.

1. The title, the tone, the hunter, the hunted?
2. The importance of the location photography, long sequences, the visuals, the mountains, the valleys, the seasons? The musical score?
3. The period, the 19^th century, basic life in the mountains, the ruins of the town, the cemetery? The town itself, homes, the bar?
4. The world of the hunter, out in the mountains, the opening sequence with the deer, shooting, skinning, carrying home, kept for meat? The confrontation with wolves? The other animals, the flights of birds? The world of nature?
5. The portrait of the hunter, his age, appearance, beard and hair, clothes, rifle, out in the mountains, the deer, daily life, sowing his crops, the goats, milk, setting the traps, the routines, eating ravenously, working at night? The seasons passing? The trip to the town, his load, lowering it, coming down on the rope? The bar, the bar keeper as his friend, advice? The mayor, the skins, the haggling? The bar keeper advising him to get a wife? Going to the widow before leaving the town, the sexual encounter? the deal with her father?
6. The widow, returning with the mountain man, his minimal speaking, interior emotions, brutish in his manner? The sexual encounters, her illness, pregnancy, giving birth, the dead child? The mountain man and the burial, taking the bodies to the town, giving them to her father? Her father knowing the situation, his doing a deal with his youngest daughter?
7. The wedding, the formalities, the return to the mountains, the difficulty for the young woman, slow, the climb with the rope, as stopping to give her water? Installing her in the house, the equivalent of his property, the sexual encounters? Crops, the goats, singeing the skins? The effect on her, morose, no response from her husband, her father giving her the herbs for any desperate situation, her grinding them, then poisoning her husband?
8. His continuing his work, but getting sick, more tended towards his wife when he learns she is pregnant? Telling her she could leave?
9. Her escape, in the snow, her leg caught in the trap? Her husband searching for her, finally finding her, bringing her home, attending her foot? Her miscarriage?
10. The fate of women in these circumstances? Her decisions?
11. The final scene of the mountain man, lying on his bed, the open door?

LE PATIENT/ THE LOST PATIENT

France, 2022, 89 minutes, Colour.

Txomon Verges, Clotilde Hesme, Rebecca Williams, Audrey Dano, Stephane Rideau, Matthieu Lucci, Alex Lawther.

Directed by Christophe Charrier.

The French title is simply The Patient. And the focus is on the patient, a 19-year-old young man awaking from coma, amnesia, and a psychologist trying to get him to remember and come to terms with his past.

Thomas, the patient, is played by Txomon Verges, vulnerable, searching – but with scenes showing his aggression. The psychologist, Anna, is sympathetic, herself using a walking stick and having a limp. There are also the physiotherapists at the hospital who work with Thomas and there is a young man with whom he becomes friends, also a patient, working with the physiotherapists – but the relationship becoming threatening.

This is a film of flashbacks as Thomas begins to recover his memory, focusing on his parents, focusing on his sister Laura and the strong relationship between them, and his observing Laura in her own personal behaviour.

Ultimately, and the audience may well have been thinking this from the middle of the film, it is revealed that Thomas has killed his family, that his sister died long before he was born, that he is the hooded menacing character, and that he had wounded himself.

1. The title? The French focusing only on the patient, the English introducing the theme of “lost”?
2. The French settings, the hospital, therapy, psychological care? The flashbacks, Thomas and his childhood flashbacks? The flashbacks to his sister, Laura, his relationship with her, her relationship with the woman, the bond? The flashbacks to the killing, the parents, the cousin, Thomas and his wound?
3. Thomas waking in hospital, his age, 19, amnesia? The flashbacks? His behaviour in the hospital, the interactions with Anna, the memories, the discoveries? The physio sessions? The encounter with the young man, also a patient? The moodiness?
4. The character of the psychologist, her limp, walking stick? Her presence? The questions, probing? The interaction with the physiotherapist, their differing opinions?
5. The flashbacks, Thomas and his parents, the older sister, the social scenes, the mother, her relationships, the more passive father? The cousin and his coming to stay? Reasons? The flashback to the photo album, his sister, then his absence from the album?
6. The episode with the young men in the hospital, his injuries, the friendship with Thomas, the dangers, the threats, his being removed?
7. The hooded figure, sinister, Thomas being urged to identify the hooded figure?
8. The satisfactory revelations, the twists? Thomas being the hooded figure? Laura dead before he was born, figure of his imagination, compensation, the episode of the television and the singing of the song by the actress playing Laura? Thomas and his motivations, killing his parents, killing his cousin, stabbing himself??
9. Audiences enjoying this kind of gradual unravelling of a case, twists

TANTURA

Israel, 2022, 96 minutes, Colour.

Teddy Katz.

Directed by Alon Schwarz.

Tantura is an Israeli film focusing on a massacre of Palestinians in 1948, the perspective of Israel and the war of liberation and the establishment of the state of Israel – in contrast with the Palestinians who consider it The Catastrophe, Nakba.

This is a documentary, mainly talking heads, but always interesting, taking the audience back to the Palestinian village in 1948 and the testimonies, but also a focus on investigations to uncover truth, and the reluctance of government and some academics to face the truth or, when there is expose, to deny it and to condemn the investigator.

"Tantura" is an ensemble work with a lot of voices. But the main narrative thread is research by a Haifa University graduate student named Teddy Katz about the effect of the 1948 war on five villages, including Tantura. Katz conducted 140 hours of audio interviews with 135 people, both Palestinians and Israeli witnesses to (and participants in) the events at Tantura. Then he published a thesis in 1998 concluding that there was a massacre of 200-250 Tantura Palestinians, mostly men, by IDF’s Alexandroni Brigade, and that the victims were buried in mass graves. He received the highest grade possible on a thesis and graduated with honors. This paragraph from Roger Ebert.com, writer, Matt Zoller Seitz.

The subject of the film is rather daring for an Israeli director, Alon Schwartz. Israeli authorities, in fact, wanted the film banned from screenings. However, it was a nominee for the Awards of the Israeli Film Academy, 2022, won the research award at the DocAviv Festival, was in competition at the Sundance Festival, screened at festivals in Cleveland and winning at Philadelphia.

While the testimonies and the speeches are always interesting, there is the focus on the researcher, Teddy Katz, who interviewed 135 witnesses, some willing to remember, some unwilling to remember, many contradictions in the testimonies. However, Katz was able to draw conclusions in considering the consistencies and inconsistencies of the testimonies. When his work was published, the Rector of the University of Haifa dismissed it as unreliable and some of the witnesses began proceeding against Katz. Katz at first signed a document condemning his thesis but later retracted. The Rector appears in this film, spurning the work of Katz.

This kind of film, testimony, interviews of witnesses, is always a challenge to the collective memory of Israel, the joy of the establishment of the state of Israel, the withdrawal of the British occupation, the situation of the Palestinians in their villages and their being evicted, the decades of hostilities, Israel’s wars, and the continued discussions about the two states. Nakba is considered to boo in Israeli society.

A Jordanian film about the Nakba and a massacre in a Palestinian village in 1948, Farha, serves as a companion piece to this film (and was subject to Israeli complaints to Netflix, wanting them to withdraw the film).