Blessed Peter To Rot, Celebration of his Anniversary of Beatification and Death. July 2025

Remembering the Beatification of Peter To Rot on 17 January 1995, we are planning a celebration also of his death, 80 years ago. There are not many confirmed dates in the life of To Rot, but it was reported that "on a Friday in July 1945", he was killed by the Japanese army.

We are planning to celebrate these two events on July 8 at St Mary's Cathedral here in Sydney, if all the elements come together. We hope for a big attendance and many prayers for his Canonisation. We are working together with the PNG Catholic people of Sydney.

We have re-printed 300 copies of Adrian Meaney's book: 200 for PNG an extra 100 for Australia. We also have many prayer cards to give out to people as needed.

Roger Purcell MSC.

Frank Brennan SJ and memories of 50 years ago – joining the Jesuits

Catholic Outlook

Was being a Jesuit or a priest something you had thought about growing up?

From the interview in Eureka Street by Jim McDermott – including the MSC story that Frank has often told.

I’d thought about being a priest. I’d never really thought about being a Jesuit. I came from Queensland and Northern Australia, where there were very few Jesuits. I had an uncle who was a Jesuit, Tom O’Hara, but I hardly knew Tom. He’d spent most of his time in Rome at that stage.

              I’d been taught by a very good group, the Missionaries of the Sacred Heart, who had a very down-to-earth spirituality. But they told me if I joined them, I’d probably teach in schools or work with Aboriginal people, and at that stage I wasn’t much interested in either of those, so I looked farther afield.

             In my last year of university I went to Melbourne and I stayed a few nights with the MSCs. And the Aboriginal leader Pat Dodson, who at that stage was a Missionary of the Sacred Heart, said you should go and check out the Jesuits at Parkville.

It was holiday time, so there were not many of them around, but I was very fortunate in that two of the Jesuits I met and had long conversations with were Mark Raper, who later became a lifelong friend, and Bill Dalton, who was a very fine scripture scholar, later rector of the Biblicum.

Bill had an infectious love of young people, and he was very enthusiastic about the prospect that someone like me who’d studied law and was interested in politics might be interested in joining the Society. Insofar as I understood anything about the Holy Spirit, I thought this made sense. So I decided to check out the Jesuits.

And the rest, as they might say, is Jesuit history.

Jesuit Social Services

From a long interview with Frank in Eureka Street – subscribe to Eureka Street for online delivery. 

To check this article:  https://www.eurekastreet.com.au/frank-brennan-at-50-years-a-jesuit?utm_medium=email&utm_campaign=Eureka%20Street%20-%20Thursday%2013%20March%202025&utm_content=Eureka%20Street%20-%20Thursday%2013%20March%202025+CID_8750d1656bef357d3bb0873e462f492e&utm_source=Jescom%20Newsletters&utm_term=READ%20MORE

Some Significant March Days for the Chevalier Family, 2025

March 25th has many entries, a significant day., including the foundation and some mission outreaches. This year is the 125th anniversary of the MSC Sisters.

It includes the foundation of the Handmaids of the Lord in 1918 by Archbishop Alain de Boismenu MSC.

MSC Sister have quite a number of signif

1 March, 1893

First edition of the Dutch Annals of OLSH

1 March, 1968

Opening of St Pauls National Seminary for Late Vocations at Kensington, Australia.

1 March, 1976

Archbishop Virgil Copas resigns as Apostolic Administrator Bereina, PNG, and Bishop Louis Vangeke is transferred to the see.

1 March, 1985

MSC house canonically erected in Fiji. Father Kevin Barr is the first Superior.

2 March, 1965

First profession of a number of first MSC members: the first from Alotau, Eastern Papua, the first two from Kavieng diocese, New Ireland, the first from the Archdiocese of Port Moresby, in the first three from Kiribati, Pacific Union.           

3 March, 1877

During his visit to Rome, Father Chevalier, Jouet and Miniot are received in audience by Pope Pius IX at 18:30. The Pope signs two requests, the second which is an apostolic blessing the Daughters of Our lady of the Sacred Heart.

4 March, 1973

Father John Durkin MSC, Ireland, appointed Bishop of Louis Trichardt/Tzaneen, ordained at Dwars River, South Africa.

5 March, 1869

Pope Pius IX grants the Decretum Laudis to the MSC Congregation.

5 March, 1877

During a stay in Rome, Father Chevalier met Don Daniel Comboni, founder of the Combonian Missionaries of the Sacred Heart of Jesus  and pro-Vicar of the mission of Central Africa, who had consecrated his large Vicariate to Our Lady of the Sacred Heart on 8 December, 1875.

5 March, 1898

The Vicariate of New Pomerania, PNG, interested to the MSC, is now entrusted to the German MSC Province.

6 March, 1974

Father Paskalis Harjasoemarta MSC, Indonesia, appointed Bishop of Purwokerto, ordained at Purwokerto.

7 March, 1888

Opening of the first MSC House in Austria, and Salzburg-Liefering

8 March, 1869

The Decree of Praise of the MSC Congregation is signed by the Congregation of Bishops and Regulars.

9 March, 1906

The first Superior General of the MSC Sisters is elected. She is Sister M. Franziska Fleige.

10 March, 1865

The 'Pious Union', a movement centred on devotion to the Sacred Heart and founded by Blessed Louise Thérèse de Montaignac de Chauvance (1820-1885), becomes a Third Order of the MSC Congregation. It is a Third Order for women without vows and is associated with the MSC Congrégation until March, 1874.

10 March, 1933

Death of Father Jules Vandel, first Novice Master and first superior at Kensington, Australia.

10 March, 1989

The first three Peruvian Daughters of our lady of the Sacred Heart take their first vows.

11 March, 1942

World War II: Kabuna, Papua: “many aeroplanes in the air this morning. Brother Jean Koewiede is very sick; in the valley there is no more hope for the Carmelite Sister Marie de la Croix.) (To buy a menu, Notebook)

12 March, 1965

The first two German MSC Sisters leave Hiltrup, Germany, to establish a foundation in Korea. They arrive on the 24 March, 1965 and the next day, 25 March, 1965, is the Foundation Day of the Korean Mission of the MSC Sisters.

14 March, 1987

Erection of the South Korean MSC Section, entrusted to the Philippine Province.

15 March, 1824

Jules Chevalier is born in Richelieu, France. The following day he is baptized in the parish church, "Notre Dame", at Richelieu.

15 March, 1886

Father Charles Piperon rents the property at Terloohof at Borgerhout, Belgium.

15 March, 1928

Foundation of the first FDNSC see community in Italy, at Narni.

15 March, 1980

Erection of the Philippine MSC Province. All Dutch confreres working there join the new province.

16 March, 1950

The Irish MSC accept a mission in the Abbatia Nullius of Pietersburg, South Africa. In the same year, the first three Irish MSC arrive there.

16 March, 1966

The first two Brazilian FDNSC leave for Papua.

17 March, 1935

MSC Sisters and a Third Reich injustice story: Mother M. Electa, Superior General of the MSC Sisters, and the Procurator General, Sr. M. Gerberga are arrested by the Gestapo in Hiltrup. They are falsely accused of trafficking foreign currencies by Joseph Goebbels, Minister of the Propaganda of the German Third Reich. Mother M. Electa will be released from prison one year later, on the 18 March, 1936.

17 March, 1943

Three FDNSC, three MSC from Manus, PNG, eight MSC from New Ireland, PNG,
together with 39 SVD missionaries and Holy Spirit Sisters, are killed at sea between Kavieng and Rabaul, PNG, during the Japanese war in the Pacific.

18 March, 1878

Public audience of Pope Leo the XIII who talks from moment to Father Chevalier personally.

18 March, 1900

Father Alain de Boismenu, appointed coadjutor to Bishop Navarre, is ordained Bishop in Montmartre, Paris.

18 March, 1936

19th March, St Joseph

19 March, 1866

Father J-M.Vandel starts his year of MSC “novitiate”.

19 March, 1964

First canonical erection of an MSC House in Indonesia, at Jakarta.

19 March, 1967

Erection of an MSC Section Texas and in the Southern States of the USA, entrusted to the Irish Province.

20 March, 1886

Father Hubert Linckens, MSC, who becomes historical founder of the MSC Sisters,
is ordained at s'Hertogenbosch, Netherlands.

21 March, 1892

Fathers Chevalier and Piperon visit Barcelona and Canet del Mar.

22 March, 1932

The Apostolic Prefecture of Coquilhatville, Zaire, becomes an Apostolic Vicariate, Msgr E. Van Goethem MSC appointed Apostolic Vicar.

23 March, 1932

Shiquian, China, becomes a ‘Mission sui iuris:, entrusted to the German MSC.

24 March, 1965

The first MSC Sisters arrive in Korea.

25 March, 1859

Construction commences on the Basilica in Issoudun.

25 March, 1874

Approbation of the Archconfraternity of Perpetual Worship.

25 March, 1881

The Congregation for the Propagation of the Faith officially offers the MSC the two Vicariates of Melanesia and Micronesia.

25 March, 1882

Marie Louise Hartzer enters the FDNSC Congregation in Issoudun after a lengthy period of discernment.
The once thriving new community established in 1874, by 1882 does not show signs of growth, in fact, quite the opposite!
However, Marie Louise is very much attracted by the charism of Jules Chevalier so she decides to enter the small community.
She becomes the First Superior General.

25 March, 1901

First Profession ceremony of 11 MSC Sisters in Hiltrup, Bishop Louis Coupe presiding.

25 March, 1918

Foundation of the Congregation of the Handmaids of the Lord in Papua New Guinea by Monsignor Alain de Boismenu.

25 March, 1977

Foundation Day of the Indian Mission of the MSC Sisters.

25 March, 1955

Archbishop Carboni opens new Regional Junior Seminary for the eight vicariates apostolic of PNG. Australian staff, Father Kevin English MSC, first Rector.

25 March, 1967

Arrival of the first two MSC, island, in Venezuela: Fathers Donohoe and Moran arrive at Caracas.

25 March, 1977

Foundation Day of Indian Mission of MSC Sisters.

27 March, 1878

Father Chevalier is present at a meeting of the Roman Archconfraternity of Our Lady of the Sacred Heart. He leaves Rome for Issoudun that same day.

27 March, 1949

Father Alfonso Ungerelli MSC, Italy, appointed first Prelate Nullius off Pinheiro, ordained Bishop at San Paolo, Brazil.

28 March, 1898

From March 22 to April 6, Father de Boismenu makes a dangerous journey from Yule Island to Thursday Island via Cooktown: rough sea, the main sails are lowered, water enters the ship, the captain is terrified. On March 28, he writes: “terrible night. We pass the coral reef at 2 p.m..”

28 March, 1937

Father Heinrich Kellner, MSC, from the North German Province dies in captivity in China.

29 March, 1922

Rome: the MSC Generalate moves from Porta Pinciana to Via Balbo 1.

29 March, 1938

The name of the diocese of Victoria-Palmerston, Australia, is changed to diocese of Darwin.

29 March, 1940.

The Prelature of Pinheiro, Brazil, his entrusted to the Italian MSC Province.

30 March, 1904.

Father M.Neijens becomes the first MSC to enter Dutch New Guinea, Irian Jaya, Indonesia.

30 March, 1911

The first FDNSC Sisters establish themselves in the Netherlands at Waalwijk.

31 March, 1902

Mission appointment of first 12 MSC Sisters by Father H. Linckens MSC to the Marshall Islands and New Pomerania, New Britain, PNG.

31 March, 1933

Arrival of the first MSC sisters in Shiquian,, China.

31 March, 1950.

Agreement signed between Father Provincial Aidan Breene, Australia, and Monsignor Matsuoco, Bishop of Nagoya, concerning Mission in Japan.

31 March, 1968

The first FDNSC Sisters arrive in the Philippines, after a few days, establishing themselves in Munoz, Neuva Ecija.

Heart of Life Centre 2025, Nicole Tucci

Director, Peter Hendriks MSC, writes:

Introducing Nicole!

We are thrilled to introduce to you, our newly appointed Executive Assistant, Nicole Tucci. Nicole comes to us with 20+ years’ experience in similar roles.

She is married, with three energetic boys and loves spending time outdoors. She’s also passionate about crafting—whether it’s creating something new or just getting lost in a fun project.

Welcome, Nicole!

WHITE BIRD

US, 2023, 120 minutes, Colour.

Ariella Glaser, Orland Schwerdt, Helen Mirren, Gillian Anderson, Jem Matthews, Bryce Gheisar.

Directed by Marc Forster.

A film about occupied France.

To appreciate this journey back into the past, Jewish families, in Alsace, the advance of the

Germans, anti-Semitism, the trains to the concentration camps, it is helpful to know that the film is based on graphic novel by popular author, R. J. Palacio, noted for her books for children and younger audiences. This is very much a Young Adult treatment of its theme. Which means that the drama and the sometimes dreadful situations are be presented in a way that, for instance, the whole family could watch the film together. There should be no expectations that this will be a graphic treatment for an an older audience.

But, the film opens in the present, in New York City, a young boy, Julian, expelled from school for bullying, is at his new school, and immediate suggestions of bullying situations. But, that is not the story here. Rather, his famous grandmother, a world renowned artist who is having an exhibition, retrospect, in New York, concerned about Julian’s expulsion and what will happen to him in a new school, tells him the story about her parents, in France, her own experience of the war. Which means then that most of the film is in flashbacks, often returning to the grandmother and Julian ensuring that he is listening attentively to her story.

As do we. The grandmother is Sara, mid teens, played by Ariella Glaser. Family is Jewish, the parents not immediately apprehensive but suddenly taken away. Sara attends the local school, run by a sympathetic priest. The staff of the school try to save the Jewish students from the Nazis, running away but everyone caught except for Sara, and the brutal death of the young teacher who helped.

Many audiences will be thinking of the Diary of Anne Frank as we see what happens to Sara, successfully running away, eluding capture, helped by a fellow student whom she had ignored in the past, he the butt of bullying because of his lame leg. He is Julien, played by Australian actor, Orland Schwerdt. With the consent of his parents, Sara is hidden in the barn, a growing friendship over a period of two years.

Julien is very likeable, audience sympathy for him, and the audience appreciating the growing friendship between him and Sara. But, there are the realities of war, some of the local boys from the school aligning themselves with the Nazis, some brutal confrontations. But, of course, Sarah has survived and prospered, having had great opportunity in the barn to continue and develop her drawings, her art. And, as she explains, that is why her young grandson has been called Julian.

Older audiences will be attracted to the film because it is headlined by Helen Mirren and Gillian Anderson, Helen Mirren as the older Sara, Gillian Anderson as Julian’s mother.

And, the imaginative touch, the presence of the White Bird, and its symbolism of peace and joy, protection.

(Audiences familiar with the writings of R.J.Palacio will know her story, Wonder, filmed in 2017, the American boy, Julian, a bullying character there – and this film opening with reference to his being expelled and at the new school.)

1. A film about occupied France, the background of the Holocaust, but designed as a film for a Young Adult audience? Not designed for an older mature audience wanting to relive or to understand the Holocaust? Acknowledging these limits?
2. The work of R.J.Palacio, her novels, graphic novels? The connection with Wonder, Julian, bullying, this new film and his changing school, his attitude towards bullying, sitting at the dining room table, told that is sitting with losers, the girl with the glasses and her invitation to join the social club? And is later apologising to her and his future?
3. The framework with Julian, at school, his grandmother visiting from Paris, her reputation as an artist, the retrospect exhibition? Her talking with Julian, telling her story, hoping to temper his bullying and set him on a straight apart?
4. Helen Mirren as the grandmother, her presence and style, public celebrity, telling the story, the episodes in flashback, coming back to Julian in the present, the impact of her story on him?
5. Sara’s story, in Alsace, Jewish family, the imminent arrival of the Germans, her parents confident, and their being taken? Her presence in the school, Catholic background, the priest in charge, the roundup of the Jewish students, the Germans, the sympathetic boys, especially Vincent and helping them? The young teacher getting the students to run away, their being rounded up, his being shot? Sara and her running away, hiding?
6. Sara, the encounter with Julian, her having sat next to him in class for five years but snobbish? His leg and disability? Rescuing Sara, bringing her home, hiding her in the barn, the consent of his parents? The caution about the neighbours, thinking them informers? Sarah and the initial situation in the barn, the parents coming to welcome her, Julien and his visits, the food, pencils and the art book, the conversations, time passing?
7. Memories of the Diary of Anne Frank? Sara and her isolation, secrecy, for two years? The growing friendship with Julien, playing cards, talking, the sketches? The birthday celebration, the cake, the parents joining in? The effect on Sarah?
8. Julien, the moments of tension with Sara, not visiting? The resuming of the friendship?
9. The presence of the Germans in the town, Julien and his decision to walk through the town, the mockery of the fellow students, his being taken with the infirm at the hospital, the drive, at into the countryside, their passing on the advice to run, everybody running, their all being shot?
10. The parents, the news, her into the authorities, visit to the neighbours, the discovery that they were sheltering in old Jewish man for the years, the giving the mother the money to pay for Julien’s release, her hurrying to the authorities, going to the site, Julien’s death?
11. The dangers for Sara, her being helped by the neighbours, her being saved till the end of the war?
12. The dramatic sequence with Vincent, his finding her, her running into the countryside, the rule is, the attack on Vincent, his death?
13. The effect of the story on Julien, his grandmother’s exhortation is an encouragement? And happy story of his name, and the parents giving away at her wedding ceremony?
14. The gearing of the telling of the story to the young adult audience, glimpses of the violence rather than focusing on it, making it a film to enable younger audiences to go back into the past, to experience the anti-Semitism, the German occupation, the sending of the Jews to Auschwitz?

THE FORGE

US, 2024, 124 minutes, Colour.

Aspen Kennedy, Cameron Arnett, Priscilla C. Shirer, Karen Abercrombie, B.J.Arnett, Alexandra Rose Frazier.

Directed by Alex Kendrick.

The Kendrick brothers, Alex and Stephen, have become well-known with their studios in Georgia, making Faith-film features for over 20 years, since 2003. They have been successful with their intended audiences and have also been more widely successful, a number of their films appearing on the US top 10 box office list on the week of release.

Alex Kendrick is the main force working with his brother, Stephen as producer and cowriter, but Alex is writer, director, and also acting in a number of the film is. He has a background in Baptist religious tradition, training, and as a pastor of a church.

Some observers have been surprised that over the 20 years of faith-films, which received such a boost in wide popularity with the release of Mel Gibson’s The Passion of the Christ in 2004, that there used to be an emphasis on churchgoing, but  this has diminished.

In fact, the theme of this film is discipleship, professed faith in the Lord Jesus as Lord and saviour, very much a private religious experience and religious experience shared with congenial groups. And, interestingly in this case and perhaps for a target audience, practically all the characters in the film are African-American.

The central character is a 19-year-old unemployed young man, Isaiah, the setting, Charlotte North Carolina. His played by Aspen Kennedy (late 20s convincingly being late teens). He has problems with his absconded father, clashes with his devoted mother, but moves to get a job, encountering an entrepreneur in the city played by Cameron Arnett. But, the entrepreneur is a religious man, has set up a group involved in Discipleship, the mentoring of younger men in their faith.

The film is earnest with the Kendrick Brothers’ exhortations to belief and faith while they tell their popular human story. There are many sequences of Bible readings and reflections, quite a moment when Isaiah is challenged to believe in forgiveness for his father, and always a sense of hope and optimism and belief in the goodness of human nature.

And, with some drama, there is an ending connected with the business world, Isaiah and the team at the company doing a marathon on preparation of the goods to seal a contract.

As with other faith-films, those who don’t share this kind of faith, especially its more overt manifestations, will turn off the film if they come across it. But, even for those who don’t share this kind of faith or perspective, it is an opportunity to appreciate and understand this kind of religion.

1. The films of the Kendrick brothers? Religious, faith-films, the Baptist tradition? Bible-oriented? The success, with American box office?
2. The theme for the 2020s, faith, Jesus is Lord and Saviour, not an emphasis on church, rather on Discipleship and its consequences for individuals, groups, and the workplace and prosperity?
3. Isaiah’s story, his absent father and deep resentment, his love for his mother, aged 19? Playing ball with his friends, his attitude towards his mother, the issue of responsibility, rent, his not turning up on time for his mother, her reprimands? Her urging him to get a job? His initial surly attitudes, the incident going into the coffee shop, the reaction to Abigail, his defiance towards her father? (And the later scene of his going to apologise, ask forgiveness, the response of the father, and is later meeting Abigail on campus… And the future?).
4. Going to the gym, the encounter with Joshua Moore? Joshua seeing something in Isaiah, their talk, the invitations, showing him the factory, inviting back, the conversations, the other workers and Isaiah’s apprenticeship, the effect on him?
5. Joshua Moore, his background, successful enterprise, business difficulties, takeovers, the relationship with his wife and her involvement in the firm, his accountant and the advice? The range of workers on the floor? The details of the production, computerised, the robots, the expert and his control?
6. The gradual change in Isaiah, the discussions with Joshua, the meetings, the exhortations, the Bible texts and readings, Isaiah and his father, encountering him at the factory, his rage? Joshua and his story about the death of his son with the drunken driver? The challenge to Isaiah, Joshua’s urging, the Scripture texts, his reading them in the house, his anger, desperation, faith experience, commitment to forgiving his father? His mother listening and praying?
7. The meetings, singling out Isaiah, and his work at the factory, relationship with the other workers? Improvement, his mother renovating the car, his paying her rent? Happiness at home?
8. The gathering, Isaiah talking with the white member of the group, his explaining that he was the drunken driver, encouragement of Isaiah?
9. The financial situation, the takeovers, arrival and the offer, the need for preparing 3000 items overnight, Isaiah and his leadership, persuading the others to join in, Joshua and his wife watching, her connecting with the robot-controller at home with his computer, getting the robots in action, her giving the instructions, moving the robots, the effect on those at work? The completion of the work on time?
10. The arrival of the new partner, talking with Isaiah rather than Joshua, the negotiation, five years security, then seven years? Success?
11. The religious interpretation of what had happened, the faith dimension, prosperity and success, Isaiah a changed man, going to college for business?
12. The film as an exhortation to biblical faith, Jesus as personal saviour, the repercussions for life – and, as with the changing faith-films, not such an emphasis on churchgoing?

LOBO FEROZ/ FEROCIOUS WOLF

Spain, 2023, 104 minutes, Colour.

Adriana Ugarte, Javier Gutierrez, Ruben Ochandiano, Juana Acosta, Manual Vega.

Directed by Gustavo Hernandez.

As suggested by the title, this is a very grim film. It focuses on paedophile behaviour, the role of the law and the behaviour of vigilante avengers. It is based on an Israeli film of 2013, Big Bad Wolf, and this version is, at times, very difficult to watch.

It opens, in black and white, with a past episode of young girls being pursued by a giant man who says he is the big bad Wolf – and the indication that he will molest them.

Then, in colour, in the present, a tough police officer is interrogating a suspect, brutally, leading to his suspension and the release of the suspect. While there is a police investigation, led by a woman officer who has been taunted by her fellow male officers, the suspended man continues his pursuit, stalking the accused who is a teacher at school, seen playing the piano for the school choir rehearsal but the students passing around a note accusing him.

We are introduced to a fierce young woman, Matilde, who was one of the girls menaced in the opening sequence, has later shot an assailant, her father going to prison to save her, but her later going to prison for robbery. Her birth daughter, later adopted. Vengeful, she abducts the accused and torments him, parallel to the way that her daughter was tortured, broken fingers, toenails drawn…

But, she also overcomes the suspended police officer, imprisoning him, his collaborating with her though tied up. The accused, however, denies everything, refuses any information.

The drama moves between the basement where the interrogation/torture is going on and the police investigation. Matilde’s father also becomes involved there are complications when the suspended policeman is able to escape and ask for help. Meantime, the police investigation narrows down the search for a final confrontation.

With attention, the audience is not always sure whether the accused has actually committed the crimes or not. And, there is more sympathy for the suspended policeman as the drama moves on. And, then, his daughter is abducted and disappears.

The film certainly demands audience attention but, as said, is often difficult to watch, especially the torture sequences.

1. The title, the symbolism of wolves and prey, the prologue, black-and-white, the children playing, little girls, the big man, pretending to be the wolf and frightening them, the menace, the shadow, unbuttoning his shirt…? Setting the tone?
2. The Spanish setting, the town, homes, basements, police precincts, atmosphere? The surrounding countryside, atmosphere? The musical score?
3. Moving to the present, Alonso and his role as police, with Elias, the interrogation, vicious, torture? The response of the police chief? Having to let Elias go? Suspending Alonzo? Allowing him to investigate further? Alonso and his relationship with his wife, the phone calls, love for his daughter, at her dance class, her disappearance and its effect on him?
4. Elias, at school, the piano, the note, the accusations? The situation with the death of the little girls, torture, the finding of the boat, the girl without a head? Audience response to Elias, believing him guilty or not? Alonso stalking him, in the street, the car almost crashing, Elias helping the old lady across the street? The continued confrontations?
5. The scene of the mob, the betting, the fistfights, Matilde and her intervention, her strength, relationship with her father? The later explanations, her being molested as a girl, the opening sequence, the effect on her, her behaviour, killing her assailant, her father going to prison for her, her later career, in prison for robbery, out, the daughter adopted, her wanting vengeance, the stash of money, relationship with a lawyer, sexual, the drugs, grinding them, the making of the cake? The abduction of Elias?
6. The visuals of the abduction, the investigation by Alonzo, her subduing him? Inviting him to collaborate, his theory of a psychopath confronting a psychopath? Audience hearing the details of the torture of little girls? Elias and his stoic refusal to admit anything?, The implements, fingers, nails, hanging him? His refusal to answer? Alonso persuading him to give information, the location for the girl’s head, Matilde and her driving, digging, the lie?
7. Alonzo, audience sympathy or not, abducted, imprisoned, collaborating, urging Elias to tell the truth? His getting free, going to get help, the news about his daughter’s abduction?
8. Matilde and her father, his suspicions, going with her, wanting to torture Elias, the incident with the cake, his collapse, the fire?
9. The police, Vidal, the men at the station mocking her, her being commissioned to investigate, her relationship with Alex, treating him as an office, his contributions, getting information, the search of the house, getting reinforcements, going to the basement, the confrontation, shootings, Alex shot, Matilde wounded, escaping, the confrontation with Vidal and the story of her dead son, Matilde wanting his name?
10. The symbolism of the wharf, the encounters with Matilde, in the countryside getting her money, on the road coming back after the search, the final confrontation? The behaviour of the wall?
11. Alonzo, his daughter’s abduction, the audience seeing her banging on the wall, not heard? And the Vidal’s return…?

CONTRAATTAQUE

Mexico, 2025, 84 minutes, Colour.

Luis Alberti, Leonardo Alonso, Luis Curiel.

Directed by Chava Cartas.

An action show designed for those who enjoy them, brief running time, continuous action, some serious moments, violent moments. And, the setting is familiar enough from many films from the US and Mexico, where this film is from. The cartels, the brutal leaders and their militias, havoc on ordinary citizens, the response of the police, and military special forces.

At the centre of the film is a group of elite special forces, their becoming involved in action against the cartels after a mother and daughter discover a mass grave out in the countryside and they are abducted. The special force has five members – and, memories of films like The Magnificent Seven, these are magnificent five, each with their own character clearly developed, and working together, especially when they are ambushed on the road, and have to make their escape through the countryside, pursued by the cartel chief and his militia, finishing up with the siege of a cartel building, the five inside, the militia outside.

This is what this film set out to do – and does it quite efficiently and effectively.

1. The title, expectations? Action show, brief running time?
2. The Mexican setting, the cartels and their influence, power, violence? The cartel leaders? The police, the special action forces? Corrupt politicians?
3. The opening on the road, the Mexican countryside, the crash, the fight? Later reprised? Setting the tone, the captain and his team, their skills? Military, with the government? The contrast with the cartels, their forces, militias?
4. The introduction to Carla and Lucia, at home, ordinary, going to work, pregnant, sick by the roadside, the discovery of the mass grave, the reporting it, observed by the militia, abducted and imprisoned?
5. The cartel leader, seen at home, his twin daughters, cooking? His communication with the militia, his brother, bravado, conflicts with the military? His going into action himself?
6. The group, the captain and his leadership, skills? The other members of the team, their personalities, skills? Tanque, older, loyalties, expertise? Pollo, young, a hunter, sniper and his abilities? The doctor and his involvement? Toro, hesitations, joining in? Seeing them in action, the reprisal of the crash, their heading out towards the border, pursued, fighting back? Injuries? Going to the house, eliminating the guards, finding the women? The drama of the siege, the tactics, shooting, ammunition, grenades, power guns, the secret passage, the explosions? Survival? Tanque dying?
7. The women, rescued, fears, growing involvement, weapons, the attacks? Surviving?
8. The portrait of the cartel militia, the women in leadership, the filming of the bribe to the government Secretary, their taking the captain’s phone, tracking every movement? Tactical advantage?
9. The final confrontation, the cartel leader, the hand-to-hand fights with the Captain, his defeat?
10. Familiar material, efficiently done, continue to action for the fans, and some delineation of the chief characters?

INSIDE

Australia, 2024, 102 minutes, Colour.

Guy Pearce, Cosmo Jarvis, Vincent Miller, Toby Wallace.

Directed by Chris Wallace.

On the one hand, the title, Inside, suggests prison. On the other hand, it could also suggest going into the interior of a person, their personality, motivations and behaviour. Both are relevant here.

There is an arresting prologue to the film, a wedding ceremony which we see taking place in the prison, a pregnant mother, a criminal father – and the focus then on the child, now a late teenager, and his being condemned by his criminal father and inheriting his guilt.

The young man is Mel (Vincent Miller convincing in his first film role), transferred to a prison, assigned to share a cell with a lifer, sentenced for vicious crimes of rape and child murder. He is Mark Shepard, a powerful performance by British actor, Cosmo Jarvis. But we soon learn that there is a reason for this sharing. Mark has got religion, holding his own services in the prison chapel, more than a touch of charismatic faith, testimony are to the fellow prisoners, speaking in tongues, finding that Mel has his own keyboard, enjoys playing it and so invited to play during the happenings in the Chapel.

So, already a different kind of prison film. There are guards, there are glimpses of the criminals but not in the traditional way of prison films. There is a greater freedom of movement, many sessions to prepare those for whom parole is coming up, getting them to write a letter of apology to their victims as a justice healing exercise, a different atmosphere.

And, yet, not entirely, a new character, Warren, played by Guy Pearce a veteran facing parole but seemingly unwilling to face it, granted a day’s leave to visit his son, played by Toby Wallace, not going well, Warren an enigma. But, he is a gambler, and, to pay his debt there is a bounty on Mark Shepard, and Warren choosing and grooming Mel to be the killer, and so find his place in the prison.

Which means then that the film operates as a psychological thriller, the interactions between the three men, the religious mania of Mark, the manipulation by Warren, Mel and memories of his killing a student in the past, the pressures on him – a dramatic resolution of Mark’s fate.

An interestingly different Australian prison film.

1. The title, the prison meaning, the inner psychological meaning?
2. The action in the prison, find entry, allotment of cells, the cells, the meeting rooms, offices, workplaces, the Chapel? Resemblances to prison films? Differences in terms of guards, cells, supervision? The musical score?
3. The story of Mel, the prologue with the wedding in prison, the pregnant mother, the prisoner father, his legacy to his son, the passing on of the criminal mentality? The flashbacks to Mel, as a boy, the clashes, his killing his opponent? Sentenced to prison?
4. Mel, as a character, his past behaviour, family heritage, age and immaturity, susceptibilities? Discussions with the authorities? His being sent to share with Mark? His keyboard? This leading to his presence in Mark’s evangelical gatherings? Mel and his learning through sharing with Mark? The encounter with Warren, Warren as a father-figure, genial, the touch of the sinister, the issue of the bounty on Mark, the imposition on Mel, to prove himself, his acceptance, in the challenge, unwell, the pressure on him?
5. The focus on the authorities, sympathetic, relationship with the prisoners, especially the discussions and meetings concerning parole readiness, the issue of writing letters to the victims? Mark in for life? Warren and the possibility of parole
6. Mark, his background, rapist, killing the children, life? His personality, his cell, possessions, the religious experience, explanations, gatherings, Pentecostal-like, his utterances, exhortations, talking in tongues, the men coming, scepticism, critical, yet larger numbers coming to the meetings? His use of Mel, the music?
7. Warren, his age, crime, possibility for parole? Father figure, yet sinister, the gambling, his debt, his connection with the controlling prisoner, looks and glances, bounty, Warren and his decision to groom Mel, their interactions? The sinister grooming? Warren the issue of the bounty, going out for the day to see his son, the character of his son, relationship with his father, the emotional impact of the visit? Warren, the return, going to the Chapel, urging Mel?
8. The background of the routines of life in prison, seeming ordinariness?
9. Mark, the final gathering, Warren and his preparing the shiv, Mel hiding it under the bed and not using it?
10. In the meeting, the dowsing of Mark, setting him alight, the conflagration and his death? The impact on Mel?
11. Mark, the discovery of the shiv, Mark and its use?
12. Warren, the consequences? And his future?

THE LAST JOURNEY/ Den sista resan

Sweden, 2024, 95 minutes, Colour.

Lars Hammar.

Directed by Filip Hammar, Fredrik Wikingsson

The journey is, in fact, from Sweden to the French Riviera. And the passenger for the last journey – a retired teacher much admired by his students, now in old age, his son thinking that he is too settled, has lost his spark and needs some kind of stimulation. Hence the journey, back to his favourite part of France, back into reliving some of his happy past.

The style of the film is docudrama. The characters are real/actual indicating documentary. But the narrative moves like a fiction film.

Many audiences have responded well. The film has been a hit in Sweden. But, for audiences outside Sweden, the question lurks all the way through who is this son, what is his background, who is this best friend who accompanies them on the trip…? The answer is that the duo are two of Sweden’s most famous television personalities. (An Australian audience will almost automatically think of Hamish and Andy.) So, the filmmakers, are taking it for granted that the audiences know who they are, their background, and are happily along for the ride.

The non-Swedish audiences, despite the puzzle of who the men are, are prepared to go along for the ride, especially audience interest in Lars Hammar, the father. Fortunately for this film, the family took a lot of footage in the past, the holidays, during the travels. And we see the farewell to Lars as he teaches his last class, goes into retirement, happy times with his wife and his two children.

Son, Filip finds the family’s old Renault, coaxes, persuades, cajoles his father into getting out of his old chair and going on the trip. It almost doesn’t happen when almost immediately Lars has to go to hospital. But, out of hospital, with the help of map animations indicating the route of the journey, the audience is happy to get into the car and travel through Belgium, and a detour to the memorial of singer-writer, Jacques Brel, Lars’s favourite, then through the French countryside, including an unexpected confession sequence, Lars with a sympathetic priest, and, eventually, to the coastal town of Beaulieu.

Several times, the two men contrive past situations to jog the memory of Lars, to tell a story about Harry Belafonte that he often told sitting in a cafe, his comment about French drivers not stopping at red lights and getting out to squabble, the two men sitting up the exact old situations – and, happily for them as well, Lars tells the story and makes the comments.

Response to the film will depend on one’s age, this reviewer writing from the perspective of being a year younger than Lars and the film, the experience of ageing. Audiences who have looked after their parents, especially in care, reflecting on how they would have handled the situation, whether their parent would want to go on the trip or not. One of the reflections on the film is that Filip, with smiles and love for his father, is really pushing him, forcing him along the way and sometimes the suspicion, perhaps unworthy, that so much of the last journey is very much for Filip’s benefit.

But, the film invites us to happily go along for the ride.

1. The title and expectations? The tone of the film, happiness and joy?
2. The film as a blend of documentary and narrative drama, successfully integrated, the story of the Hammar family, past, lies and his successful career, age and decline? Filip, his devotion to his father, supportive of his mother, the idea of the trip, inviting his colleague, the touches of psychological drama?
3. The reputation of Filip Hammar and Frederick Wikkingsson? Swedish television celebrities? The Swedish audience knowing this in responding? Audiences outside Sweden not knowing of this and responding to the situation rather than their celebrity?
4. The use of video footage, at home, the visits to the south of France? Incorporated into the journey? And the journey back to the Riviera, reliving the past?
5. Audience response to Lars, seeing him as old, infirm, sitting in his chair, no spark? His wife’s concern? The flashbacks, photos of them as very young, the home video the holidays, the farewell from the class, the affirmation from the students? Audience sympathy for him, sharing Filip’s eagerness for the trip or not? Forcing Lars or not?
6. Filip, getting the old car, setting off on the trip, the accident, Lars and hospital, the trip almost ending? But the recovery, the continuation of the trip?
7. The use of animation to illustrate the route of the journey?
8. Eltham, Lars and his admiration for Jacques Brel, going to the statue, the song?
9. France, Lars and his making the sign of the cross, going to the church, the episode of the confession, the sympathetic priest, Lars and the memory of being rude so long earlier, continually acknowledging and confessing it? Conversation on the way, the meals?
10. The arrival of the Riviera, memories of the past and happiness, Filip and his memories? The plan to recreate episodes, the discussion with the actors and the setting up of the car and blocking scene and the dispute, and Lars eventually making his perennial comment about French drivers? The setting up of the train passing, the friends from the past, hoping for the conversation about Harry Belafonte – and, it is eventually happening? And the effect on Lars?
11. On the beach, silent, his being reflective?
12. Lars coming home, the effect of the journey? His wife happy?
13. The final tributes from former students?
14. The focus on Filip, his relationship with Frederick, their working together? Filip and his motivation, wanting his father to make the trip – for his father’s benefit, how much for Filip’s own benefit and the final image of the film a focus on his face?