POINT OF NO RETURN

Australia, 1994, 90 minutes, Colour.
Marcus Graham, Nikki Coghill, Doug Bowles.
Directed by Vincent Monton.

Point of No Return, was written and directed by cinematographer, Vincent Monton. After photographing a significant number of Australian films, he moved to direction with several thrillers.

Marcus Graham and Nikki Coghill were well-known at the time, appearing in television soap operas.

The film is a drama, focusing on Grady, Marcus Graham, and his escape after his brother’s funeral, seeking help from his past partner, Kate, Nikki Coghill, and trying to find out how his brother was executed by decapitation. His brother has left video for surveillance purposes which captures the execution and indicates to Grady who the criminals are, an arms dealing group.

The final part of the film is a confrontation with the criminals, the police who let Grady escape coming to the scene, shootouts. There is plenty of money for Grady and Kate, his brother’s passport. They go to the airport where there are some initial, slightly comic, difficulties – and then complete escape.

1. The title, expectations: drama, crime, police, thriller?

2. The 1990s, crime stories, international crime, weapons and deals, money laundering? International criminals, deals, executions? Police? Prisons? Escapes, pursuit? The musical score?

3. Melbourne locations, the cemetery, the streets, the bridge, the river, homes, the countryside?

4. Grady at the funeral, the words of the priest, the two police, Grady with the cuffs? Grady imprisoned, his brother being buried? In the car, the taunts of the police, his violence and escape, the officer not shooting him, diving into the river, emerging? Going to Kate’s house, her ballet moves, the past relationship, her reaction, the explanation? Her relationship with Chris? Her reluctantly helping Grady, driving? Going to the service station, trying to get help from Keith, memories of the past, his son and his being a threat? Going to Chris’s house, discovering Frank,the confrontation, the story?

5. The police officers, letting Grady escape, being ticked off? Going to Kate’s house, the phone? Going to Frank’s house, watching, confronting him, getting information, going into action, the international criminals, the shootout, deaths and woundings?

6. Kate and Grady, their past relationship, her moving to Chris, the story? The deals, radioactivity, discovering the camera, watching the video, the criminals with Chris, his decapitation? The surveillance of Kate and Grady?

7. Kate, the plans, the sexual encounter, whether to leave or not? The arrival of the dealers, the talk, Grady and his manipulation, the guns, swords? The arrival of the police, the shootings? The basement, Kate and the sword, killing the criminal?

8. The calling of the ambulance, asking for a day’s grace from the policeman, his agreeing? The ambulance arriving, their leaving?

9. At the airport, the technical difficulties for passport control, the machine registering the cuffs, Grady indicating his watch, their escape?

10. A piece of Australian crime escapism?

ANGELS SING

US, 2013, 87 minutes, Colour.
Harry Connick Jr, Connie Britton, Chandler Canterbury, Kris Kristofferson, Fionulla Flanagan, Willie Nelson, Lyle Lovett.
Directed by Tim Mc Canlies.

Angels Sing is a Christmas film for the family. Interestingly, it stars prominent singers including Harry Connick Jr in the lead, Kris Kristofferson as the grandfather, Lyle Lovett as the neighbour, Willie Nelson as the genial angel-type, Dale Watson as the singer in the diner (No Mistletoe in Prison!).

This is a film about fathers and sons.Harry Connick Jr portrays a university lecturer who has to sell his house and, in what might seem miraculous encounter, he is able to buy mansion at half its price, let go by its owner, played by a genial Willie Nelson. However, owing to an accident in the past when his older brother was killed trying to save him while skating, Michael has an aversion to Christmas and does not want to join the family. He seems alienated from his father who has tried to tell him that he was not to blame for the accident. Grandfather is played by Kris Kristofferson. There is a family gathering at Thanksgiving, and a series of events of events at Christmas, including Michael’s unwillingness to decorate the new house which he finds is in the street famous internationally for its lights and decorations. He grieves when his father is killed in an accident and his son goes to hospital. It is the Willie Nelson character who makes the difference – and leads to the lights being put up, and a happy ending.

1. An American story, Texas story? Designed for American Christmas audiences? The perspective on Christmas? Street decorations and a happy spirit? Memories of the gospel story? Songs and carols? For non-American audiences?

2. The Texas setting, the city of Austin? Ordinary homes, mansions, the streets and decorations, country homes?

3. The musical score, the range of songs, Christmas carols, the singers?

4. The cast and the range of popular singers – and there each being given a song? Willie Nelson and Amazing Grace, ordinary songs? Lyle Lovett and the Christmas Song? Kris Kristofferson in the family song? Dale Watson and the songs in the diner? Harry Connick and the final song?

5. A story of family, fathers and sons, succeeding generations?

6. Michael, love for his wife, for David his son (and his giving his son the name of his deceased brother)? Having to sell the house? The search of other houses? Michael and his bike ride, hitting the deer, walking back, the encounter with Nick, the welcome to the house, the tour, Nick and his asking for Michael to make an offer, only able to pay half the value of the house, Nick signing the document, wanting it to be a family house – and not painted pink! Michael and his good fortune, going home, his wife’s shock at her not being consulted, their going to see the house, the friendship of Nick, overwhelmed by the house, moving in?

7. The family background, Michael telling David about his uncle, the skating, the Christmas gift, David saving Michael from falling into the ice? Michael blaming himself, despite his father’s urging him not to? His despising Christmas, disliking the decorations, shocked to find that he was in the street which was internationally famous for lights, all the neighbours bringing the decorations, his putting them in the attic, except the big snowman - into the rubbish bin? The reaction to his actions, the interview, on television, being called a grinch?

8. The Thanksgiving visit, the assembled family, grandfather and grandmother, the welcome to everyone, the enjoyment, card games, some meals…, Michael walking out, talking with his mother? Michael not wanting to go for Christmas? David wanting to go? The grandparents asking David to go for a couple of days?

9. Michael, his teaching at the University, his reading, Christmas and his wandering around, the crowds, the television, his going to the church, listening to Nick singing, going to the diner, enjoying the meal? Finally opening his father’s gift of Christmas, the home movies and tapes, watching them, his heart moved?

10. David wanting to stay until dark to see the decorations, the accident, his concussion, his grandfather’s death? Grandmother moving into the house?

11. The experience with Nick, his decision to put up the decorations, inviting his neighbour over, the neighbour happily singing and agreeing to help? The house decorated, Nick’s arrival – and his leaving with angels wings on the back of his jacket?

12. Enjoyable sentiment for a family film?

BOYHOOD

US, 2014, 164 minutes, Colour.
Eller Coltrane, Lorelei Linklater, Patricia Arquette, Ethan Hawke.
Directed by Richard Linklater.

Boyhood has become famous because of its making, a process of 12 years, persevering with cast and the changes in their lives.

Writer-director, Richard Linklater, greatly admired for his series of Before, Sunrise, Sunset, Midnight, and a career which has mixed documentaries with feature films, decided in 2002 that he would like to make a film about a young boy and trace his growth over 12 years from 6 to 18. He and his cast and his crew spent a week every year adding to the film, developing the story, exploring the characters, changing the development of the plot according to some aspects of the boy’s life. A reviewer reported that she had taken a friend to see Boyhood and that the friend was very impressed and asked how many actors had played the part of the boy. In fact, it is the same boy, Ellar Coltrane, developing his fictional life story over the 12 years.

As with so many of the other of Richard Linklater’s films, this is a Texas story. It captures the atmosphere of Texas, making the film a piece of contemporary Americana.

At the opening of the film, the boy, Mason Jr, is a friendly and likeable young lad. He lives with his mother, Olivia, played by Patricia Arquette, a mother who makes bad choices in husbands and partners as is seen over the years. She has been married to Mason, again played over the years by Ethan Hawke, a frequent collaborator with Linklater, but they are separated, he wanting to travel and move around, still with some adolescent tendencies which make it difficult to relate to his son, even though he loves him.

As the years go on, Mason turns up at various times to see his son, take him out, trying to build a relationship with him. Mason Jr is not unwilling. And his mother, liking Mason, allows him to be with their son even though she is frequently exasperated with him. Mason Jr has a sister. She is played by Linklater’s own daughter, Lorelei, who also changes substantially over the years, finally asserting herself in her adolescent years.

The family experiences a number of difficulties, especially when the mother marries a man who seems genial, lectures at college where she attends his courses, marries him and brings her two children to blend with his children from a previous marriage. All seems well until, as happens in so many of these marriages, he starts to be demanding, bullying, and is a drinker. While Mason and Lorelei have got on well with the other children, they have to get away suddenly and lose these bonds. Olivia tries another marriage with a war veteran but the war has influenced his mental condition and his ability to relate to people.

However, the fascination of the film is to watch Ellar Coltrane, over the 12 years, as a little boy, growing up in school, his friends, clashes, the way that he has to fit into new families, the visits from his father, clashes with his mother despite his love for her, and into his adolescence in school. The film is rather reticent about his growth in his sexuality though he has girlfriends. Like so many of the young men of his time, he experiments with drugs, clashes with his family, wants to move out, has to plan his education – while discovering that he has a talent for photography. All in all, the processing progress of the story depends on a great deal of detail in the characters’ lives.

While some people have claimed Boyhood is something of a masterpiece, Linklater winning the prize for Best Director at the Berlin Film Festival of 2014, others have wondered because they think that nothing really happens, little action and slow-moving. But this seems to underestimate the power of ordinary life, developments and challenges of a young boy and his moving into adolescence, the importance of family, finding one’s place in family, relating to parents, dependence and the move to independence and forming an individual character.

The film offers a fine opportunity for audiences, in a film running over 2 ½ hours, to watch human nature action and reflect.



1. The title, the focus? The age of the young boy, his growth through childhood to older adolescence?

2. The work of Richard Linklater, his range of films, subjects of relationships, family, Texas? His use of improvisation in dialogue and action?

3. The 12 years of filming, a section each year as the children grew and the adults aged? The strong cast? The focus on Eller Coltrane as Mason Jr?

4. The situation of the opening, Olivia, Mason in Alaska, the two children, their age, Mason as a little boy, Samantha, smart, acting out, her attitude towards
her brother? Olivia as ordinary, trying to cope? Mason’s return, the tension between the two, taking the children out, the grandmother and the confrontation? The effect of the parent situation on the children?

5. The background of the parents and the relationship? Olivia pregnant, marrying, the difficulties, differences, deciding to study, the attraction towards the lecturer, dating him, the wedding, the combined family of four children, happiness, but his control, the children responding badly, his drinking and brutality, taking the children and leaving? The study, her achievement, further studies, degrees, lecturing in psychology and her students admiring her? The interactions with Mason over the years, the ups and downs with the children, her growing in confidence, having money, the experience with the veteran and his tough stances, leaving him? The children at school, jobs, Sam going to college, Mason and his studies, his photography, the graduation, the party? Her sadness at Mason leaving, the saddest day of her life? The events on-screen as well as those off-screen?

6. Mason, his age, Olivia pregnant, Alaska, coming home, seeing the children, his mother-in-law? Seeing the children on the weekends? His happy attitude? Taking them out, camping, the discussions, his girlfriends, marrying any, the baby? His jobs? Irresponsible and responsible? His change, the bond with Mason Jr, the issue of the car and his not giving it to his son, buying the camera? His pride in his family? Taking Mason to Annie’s parents? The final party and his speech?

7. Mason Jr, his age over the duration of the film, beginning as little, a quiet little boy, at school, his friends, picked on, reactions, his sister bossing him about? His relationship to his mother? His father? The episode with the lecturer, settling with the other children, friendship with them, sharing, reacting? The stepfather and his discipline, drinking, the attack, Olivia taking them away, the regret at leaving these two siblings? His maturing? Interested girls, talking with his father? His job in the diner? The relationship with Sheena, going out, discussions, shyness, the sexual encounter – and the their being caught by the roommate? His discussions about relationships with his father? The changes in his appearance, getting taller, styles of hair, beard and moustache, the different clothes? His study, loving photography, the episode in the dark room and the comments of his teacher? Graduation, the party and his not wanting it? The speeches and his response? Leaving, his mother sadness, going to college, his room, the roommate, going camping with the group? His future?

8. Samantha, the director’s daughter? Older than Mason, a little miss when she was young, independent style, with the stepfather, his demands on her, her reactions? The effect of leaving? Changing over the years, hairstyles and colour, her interests, her friends? Leaving for college?

9. Mason’s graduation party, the range of speeches, affirming him?

10. The lecturer, his classes, the attraction for Olivia, his children, the marriage, life at home, strictness, discipline, drawing the line, Olivia finding it hard, her comments, his brutality and drinking, taking the children?

11. Olivia and her attraction towards the veteran, marrying him, his house, his tough attitudes, especially demands on Mason?

12. Family backgrounds, Olivia’s mother and her care for the children, later acceptance of Mason? Anna, her character, love from Mason, the baby? Sensible? Going to her parents, Mason’s birthday and the gift of the Bible, of the gun, the old man teaching him how to use it? The visit to church? The issue of the baby’s baptism?

13. The range of supporting characters, Carol as a good friend and sheltering the family after the difficulties, the little daughter, growing up? People in the education area, lecturers, students? The young Hispanic man and his working on the pipes, Olivia’s advice to him to study, later going to the restaurant, his thanks to her – and the impression on her children? The variety of teachers, and their encouragement of Mason? Mason and his work at the diner and the people in charge, the owner, straight up and down, making demands on Mason, yet friendship and his giving a speech at the party?

14. Ordinary people, difficulties, the difficulties for single parents, re-marriage, integrated families, step-parents and their demands?

15. A little boy growing up in this context, his experiences, the effects, his coping and his future?

WHAT WE DO IN THE SHADOWS

New Zealand, 2014, 86 minutes, Colour.
Jemaine Clement, Taika Waititi, Jonathan Brugh, Cori González- Macuer, Stuart Rutherford, Ben Fransham, Jackie van Beek, Rhys Darby.
Directed by Jemaine Clement and Taika Waititi.

The important part of the title is not the “shadows” but the “we”. “We” are, in fact, dwellers in Wellington, New Zealand, but vampires! Migrants from Europe, they found New Zealand a peaceful place to which to migrate and settle. Further, in fact, there are many witches, groups of werewolves as well as vampires peacefully living as citizens of the New Zealand capital. At least, that is what this film claims.

And who would think up such a scenario? The answer is Taika Waititi and Jemaine Clement. The two of them are very talented Kiwi writers, directors and actors. Waititi directed The Flight of the Conchordes and directed the moving New Zealand film about a Maori boy, Boy. Clement has acted in The Flight of the Conchordes as well as a number of American films including Men in Black 4 and gives his distinctive voice to the villain, Nigel, in the Rio films.

It is hoped that nobody is taking this too seriously. This is a comedy, and quite a funny comedy it is, plenty of rollicking jokes, deadpan verbal humour, and a smile on the audience’s face throughout the whole film. It is a very good example of the mockumentary genre, even with old-fashioned title-images from the New Zealand documentary unit of the past. It is Un- Reality TV!

Viago (Waititi) is the host for the documentary, welcoming the camera crew into his house, a flat which is shared with three other vampires. They are of varying age, the age of Viago himself almost 400, but they also have a resident in the basement, Petyr, several thousand years old and the image of the famous Nosferatu. We are soon at the kitchen table because Viago has called a meeting to discuss the roster for the chores, to criticise The Deacon, for avoiding his responsibilities and not wanting to wash up – but he is soon at the kitchen sink washing up bloodstained crockery. It is that kind of film.

Viago is a very pleasant host, working very well with the camera crew who seem to be in on every scene (no matter how impossible). A lot of amusing episodes within the flat. However, the vampires want to go out on the town and, not having any appearance in mirrors, they are not sure how properly they addressed – they are not, very old-fashioned. And often they are not allowed into clubs. Sometimes on the way they encounter a group of young men who turned out to be the local werewolves.

It does become a bit complicated when a young man, Nick, is invited into the flat and at the end of the evening is bitten and transformed. He thinks this is something of a hoot, giving him definitely a better lifestyle, and he has no hesitation in telling everybody what has happened to him. This does arouse the interest of a vampire hunter who comes to the house and wreaks a bit of devastation.

The other principal character is Stu, a rather silent, all laconic, passive young man, an expert in IT, who is able to introduce the vampires to the Internet and working on their laptops. This is especially the case for Vladislav (Clement) who has been disappointed in love, referring to his former partner as The Beast.
There is another entertaining character, Jackie, who desperately wants to be transformed but who is a vampire slave, doing all the cleaning and tidying up in the flat. She has no hesitation in talking to camera and explaining everything.

We have been told at the beginning that there is a big social event coming up, where all vampires, werewolves and local witches turn up for dancing. There are some climactic moments, especially with The Beast and some of the guests at the social taking a dim view of Stu gate-crashing, being an ordinary human.

And, in the appropriate words of Shakespeare, all is well that ends well! Quite a different entertainment.

1. A popular film? Tradition of vampire films? Of parodies and spoofs?

2. The career of the writers and directors? New Zealand film and television? Writing, direction, performances?

3. The title and its application?

4. The mockumentary, the logo of the New Zealand documentary film department? The influence of Reality TV? The film crew following the characters, filming them in every situation, even impossible situations and circumstances? The interviews with the characters, the talking heads straight to camera? Interviews?

5. Enjoyable, implausible? Vampires and folklore? Sleeping in the day, active at night, the need for blood, biting for blood – and the visuals of accidents and missing arteries!

6. Transformation of others, vampires and their human slaves? The gatherings, the social events? The werewolves? The witches? All set in Wellington and Wellington’s life?

7. The comedy, slapstick, the wit, parody, the werewolf gang, the jokes about images in mirrors, the old clothes and costumes, how to become modern when going out during the night in Wellington?

8. Viago, aristocratic, the introduction, the host to the documentary, his talking to the crew, his age, style, his manner, flight, interactions with the other characters, explanation of the flat and the flatmates, introducing each of the flatmates? His concern about the work roster, laziness, the rules and regulations, the meeting at the kitchen table? The outings, the clubs and no admittance? His parody of ordinary people? The memories of his love, his refusing to transform her, her living in the unit in Wellington and growing old, finally reunited?

9. Deacon, lazy, his relationships, his slave and the commands, at the meeting about the roster? His washing up the blood stained crockery? His friend Nick, Nick being bitten in the excitement? His being exasperated with Nick and his talk and behaviour?

10. Vladislav, his style, manner of speaking, his past and the visualising of his history, the parallel with characters like Vlad? His coping with ordinary things, the need for blood, his explanations to camera? Going out?

11. Peter, his age, looking like Nosferatu, in the cupboard, in the dark, his biting Nick, the vampire hunter and his destruction, his skeleton, the flatmates grieving?

12. The friendship with Nick, socialising, his being bitten, going out, telling everybody about the vampires, the vampire hunter, coming into the house, causing Peter’s destruction? The group exasperated with Nick? Nick bringing his friend Stu, the help with the computers, Vladislav and his work on the laptop?

13. Stu, his character, passive, happy in the company of the vampires, their respecting him, not transforming him? Bringing him to the social, the reactions against him? His reappearance – but with the werewolves and his being transformed?

14. Meeting the werewolves, in the town, looking like a Wellington street gang, the rivalries, the transformations? All coming to the social?

15. Vladislav, his stories of the Beast, the visualising? The irony of her being a woman, falling out with Vladislav? Her behaviour at the social, condemning Stu? Her not being destroyed – and the possibilities of a reunion?

16. Jackie, the slave, working for the vampires, explanations to camera, her husband, dominating him, wanting to be a vampire, the extent of her cleaning duties, finally being transformed and dictating to her husband?

17. The build-up to the social, the dancing, the music, the confrontations?

18. And a happy ending, everybody transformed – and getting along well?

PREDESTINATION

Australia, 2014, 97 minutes, Colour.
Ethan Hawke, Sarah Snook, Noah Taylor.
Directed by Michael and Peter Spierig.


Predestination used to be a theological term (well, it still is in religious circles). It was associated with John Calvin and his theology, of God’s grace to some predestined people, and the sign of their grace and predestination shown by their prosperity in this world. This concept developed in the United States and is part of the belief in manifest destiny that America rules unless it falls from grace and has lost its predestination – symbolised in the experience of Richard Nixon, his claiming his authority and presidency until he was exposed and lost his predestination.

This is a film with an American setting, an American consciousness, much of the action taking place in Boston. But it should be added that this is an Australian film, made in Melbourne, re-creating the American atmosphere, totally convincingly.

Some audiences may have the religious meanings of predestination in mind when they watch this film but they soon have two readjust their understanding of the word. It is used here in a secular context, a focus on human fate and destiny, and the mysteries of human nature. Because the plot entails complex time travel, this makes the challenge to understand the meaning of the film and the presentation of the characters much more interesting, even though continually puzzling.

The film is based on a short story, All You Zombies, by Robert A. Heinlein, author of such stories as Starship Troopers, The Puppet Masters. It has been adapted for the screen by twin brothers, the directors Michael and Peter Spierig. Their previous film was an arresting vampire film, Daybreakers.

They have brought the star of Daybreakers, Ethan Hawke, to be one of the two central characters in Predestination. He first appears as a bartender in the 1970s but it is revealed that he is a time traveller, an agent used by a bureaucracy for police work and the prevention of crime. His main task is to prevent a massacre in 1975 by a murderer nicknamed The Fizzle Killer. We see The Bartender moving from one time to another – and it is finally revealed that he does much more travel than we had initially expected.

The other central character whom we also meet in the bar, talking to The Bartender, is a character called in the cast list, The Unmarried Mother. This is a name which does not do justice to the complexities of the character, especially as we first see her as a man, revealing that she has had sex change surgery. And she is somehow or other involved in the quest for The Fizzle Killer.

Her time travel is portrayed in flashbacks. As a little girl, she was taken by a mysterious stranger and left at the door of an orphanage. She grows up there, as a girl, but a feisty one, especially in conflict with fellow orphans and authorities. She goes to college, falls in love, has a child (The Unmarried Mother). But then, her inner identity as male comes to the fore and she undergoes the surgery.

It must be said that The Unmarried Mother is played by Sarah Snook (Sisters of War, Not Suitable for Children, These Final Hours). It is an excellent performance (both as female and as male), totally convincing, award-worthy.

A review is not meant to be a synopsis of the film and enough indications have been given here to suggest the tone of the film rather than detail the plot. Predestination definitely needs to be seen, to be able to comprehend the meaning of the time shifts, the growing identification of The Bartender with The Unmarried Mother, the quest for The Fizzle Killer and the revelation of who the killer is.

Audiences will enjoy the relativity of times and spaces. They will be intrigued by the central characters and their interactions. And there are a lot of philosophical implications in the presentation of human nature, fate, destiny – and whatever predestination means.

1. Acclaim for the film? Cult film? The Spierig brothers and their films, interest in science fiction, science fantasy, touches of horror?

2. The American settings, filmed in Melbourne? The different time periods and their look, costumes and decor, the 1940s, 1960s, 1970s, 1980s, 1990s? the different styles – and the presentation of American cities?

3. The title, its past theological overtones, interest in in fate, destiny, identity?

4. The range of locations, bars, homes, college, orphanages, hospitals, apartments, the bureau? The musical score?

5. The time shifts, the experience of the characters, briefing, the way of travel, disappearing and appearing?

6. The Bartender on the track of The Fizzle Killer? The 1970s? The murders? The date for the final massacre? Media headlines and television information? Time travel in order to stop the massacre? In the bar, the bartender’s work, meeting The Unmarried Mother, assuming he was a man (and the reaction of the audience?)? The bartender and his discussions with The Unmarried Mother, helping her?

7. Sarah’s story, her birth, the 1940s, taken to the orphanage, her life in the orphanage, feisty, clashes with the others, her prospects, as a girl, the decision to go to college, her masculinity recognised, her voice change, the advice, the surgery? Accepting it? In the bar in the 1970s, talking with the bartender? His protection?

8. Mr Robertson, his role, authority, character, advice, control? The bureau, the visuals, the suits on racks? His decisions?

9. The bartender and the effect of the experience of The Unmarried Mother? The Unmarried Mother and the effect of meeting the bartender?

10. The time complexities, of the bartender bringing the baby to the orphanage, the irony in that the child was theirs, Sarah at college, charm, in love, the revelation that it was the bartender? The Unmarried Mother’s sex change? Being taken into the future? The bartender and his role to stop the killer, the revelation of the identity of the killer? His role in the life of The Unmarried Mother, his own physical characteristics, male and female?

11. Each character being the other, in different times and places, the identity of one, masculine-feminine and the complementarity? The qualities of the identities in the one person? The theme of one human nature? The mystery of human nature?

12. The title in line in the light of the action: destiny, predestination, choice?

MICHAEL KOLLHAAS/AGE OF UPRISING: THE LEGEND OF MICHAEL KOLHAAS.

France, 2013, 122 minutes, Colour.
Mads Mikkelsen, Melusine Mayance, Delphine Chuillot, David Kross, Bruno Ganz, Denis Lavant, Roxanne Duran, David Bennent, Sergi Lopez.
Directed by Arnaaud Des Pallieres.

Michael Kollhaas is a horse trader in 16th century France. He is barred from passing through territory with his horses by a local count, acting in the name of the Princess. He defies the count although surrendering two of his black horses. He intends to recover them.

He is a family man but discovers his wife murdered and starts on a journey of principles rather than vengeance. Along the way, many disgruntled citizens join him so that eventually he has an army. He is visited by the Princess, confronts the count, but is arrested and executed.

The film re—creates the 16th century countryside and villages. And the film has the benefit of Mads Mikkelsen in the central role, a performance not dissimilar from many of his others but distinctive nonetheless.

1. A saga of France in the 16th century, adapted from a German novel and transferred from Germany to France? The novel written at the beginning of the 19th century? The adaptation? Imagination?

2. The French locations, the villages, the mountains, castles, the forests? The musical score, stirring and atmospheric?

3. The title, the focus on Michael, the presence and performance in Mads Mikkelsen? As an ordinary citizen, hard done by, assertive, husband and father? Rebel, leader of an uprising?

4. The re-creation of the period, costumes and decor, castles and interiors, ordinary homes? The arms? The soldiers on the move, in the countryside, the seasons?

5. Michael, his farm, the horses, his domestic life? Refused passage by the count, the legal action by the count, the taking of the black horses, treatment? Michael taking the other horses to market, the sales? Determined to get his black horses back? The encounter with the government, his friendship, support?

6. The sequences at home, the sexual relationship with his wife? His caring for the children?

7. Cesar, his loyalty, his treatment, humiliation, violence?

8. The Princess, the presence, her role, sister of the king, legislation, the fines and obligations? A meeting with Michael, wanting to see him, his troops, understand his principles, agreeing with him, the change of legislation?

9. Michael, the life and death of his wife, his demanding justice rather than vengeance?

10. Michael, moving to see the count, finding people in villages and the countryside who were rebelling against hardships, their joining him, his having an army? Travelling, seeing the Princess, feeling that he had been heard, his discussions with the government, the Governor not being able to support him?

11. The fights, the soldiers, the battle sequences, strategies and tactics?

12. His horses back? After the false black horses? Justice being done?

13. Michael and his children, his son, presence?

14. The importance of the chaplain, the religious dimensions, Michael reading the Bible in the vernacular, this being suspicious at the time, silent Protestant revolt? Michael and his religious beliefs, the long talk with the theologist, the discussions on principles, the personality of the theologist, Michael going to confession, his past sins, but his principle of carrying on with his crusade?

15. The finale, Michael sending people back to safety, the judgement on him, his sincerity, his principles, his being executed?

HAVANA

US, 1990, 144 minutes, Colour.
Robert Redford, Raoul Julia, Lena Olin, Alan Arkin, Thomas Milian, Daniel Davis, Tony Plana, Richard Farnsworth.
Directed by Sidney Pollack.

There is a wonderful plot about a gambler caught up in a war that he would prefer to avoid, falls in love with a woman who is married to a resistance leader… A kind of archetypal story of men and women changing each other, of love and glory – as time goes by.

Of course, it received its definitive treatment in Casablanca. John Duigan took it to Far East, to the Philippines, in the early 1980s. Now director, Sidney Pollack, has taken it back to Cuba, 1958 – 1959, and Castro’s revolution.

Havana was received poorly in the US (is it to pro-Central American revolutions?). It was criticised as too slow-moving. Certainly it will be for some tastes. However, it is enjoyable, with the appeal of the Casablanca variations, the meticulous re-creation of Havana and the period, the issues of heroism.

Robert Redford fits his role well (an ageing Gatsby?) And Lena all in is a very effective leading lady.The supporting cast, including Alan Arkin and an uncredited Raoul Julia, bring the situation to life. As always, it’s a matter of interests and taste.

1. Audience interest in and knowledge of the history of Cuba? 1898 and the American victory over the Spanish? The dictatorship of Battista? 1958 and the beginnings of the Cuban Revolution? Castro? The ensuing years? The administration team? The changes in Cuba and the Caribbean?

2. The Americans in Cuba, tourists, casinos, gambling, sex industry? The control by the Mafia? Meyer Lanskey?

3. The settings of the film, filmed in Santo Domingo? For Havana, the city, the detail, the streets, the apartments, casinos, police and prison areas, the boats? The countryside? The musical score?

4. The director and his work with Robert Redford over the decades? The big budget, the settings, costumes, re-creation of the period? The cast?

5. Audience response to the lavish and affluent lifestyle in Cuba at the time? Sympathy for the overthrow? The rebels and their cause?

6. The phenomenon of Castro, in the mountains, leading the revolution, the success, the takeover of Havana? The retrospective 1963 and Jack going to the ocean, his reflections on Castro and his success, the changes in Cuba, Castro even being on the Jack Paar show?

7. The credits, the flicking of the cards, the tone, introducing Jack, the gambling? The game on the boat? The captain and the other players? The interruption, the secret police? The cookbook author watching? The finding of the gun, Jack claiming responsibility, bribing the officers, the gun in the water? Roberta and her watching this?

8. Roberta, approaching Jack, the request? His decision to help? The immediate attraction, falling in love? Driving the car, his looking at the equipment being smuggled in? Being watched by the police, followed? Delivering the goods? Roberta and her gratitude?

9. Joe and his connections with Jack, the games at the casino, high stakes, the guests, Menocal and the police presence? The games, the bets, Jack asking Menocal Carl about Bobby – and the later answer?

10. The journalist, his continually questioning Jack, in the casino and, with the girls, seeing Bobby and Arturo?

11. The American girls, in Cuba for a good time, teaming up with Jack, his statement in the various clubs, the sex activities and their reaction, shock? Jack spending the night with two girls?

12. Jack going across, meeting Bobby, the introduction to Arturo, the political discussions, Jack opting out, Arturo and his views?

13. The newspaper headlines, the arrest of Arturo, report of his death, Bobby and the rebels? Bobby and her suffering the water torture? The interrogation? Menocal and his wanting information? The brutality of the torturer? Jack, the card game, the official who lost a lot of money, Jack tearing up his chit? The tickets to Miami, the cash? Bobby getting out of prison, with Jack, walking along the beachfront, her reflections, her explanation of her story, from Sweden, to California, wanting to be an actress, Mexico, meeting Arturo, marrying, coming to Cuba? Arturo and his wealthy family, the country estate? The contacts for the rebellion? The arrests, her trying to communicate? Going to the country, Jack driving to her house, passing through the soldier lines, the advantage of not speaking Spanish, coming back to Havana? The attraction of Jack, talk, his flat, the sexual encounter? Getting the boat ticket, making the arrangements?

14. Joe and Meyer Lansky, the Mafia exploitation of Cuba and the casinos? Cynical? Jack and his agreeing to go to the games, standing up the group, his going to Menocal and making the arrangements? The invasion of Havana, going for the walk with Joe, his plan to go to Santo Domingo?

15. The wealthy are still going to the casinos, the listening numbers, the rebel reaction of the staff at the casino, the wealthy guests running away, the invasion of the rebels?

16. The irony of Arturo being alive, the connection with the author on the boat, writing about cooking, his being a CIA agent? Jack threatening to expose him? His deal with Jack? Saying he was go to go into Indochina? Jack using the CIA connection, going to Arturo, Arturo’s anger about the relationship between Bobby and Jack? Menocal and his agreement – but his memories of Arturo’s family and their oppression? His leaving?

17. Bobby, the decision to stay, with Arturo? The discussion of Jack, his knowledge of cards and all the moves, his decision to leave?

18. The episode in 1963, Jack walking to the water, making comments about what had happened in the four years, Castro and the revolution, even appearing on Jack Paar’s show?

19. A retrospect of events in Cuba from 30 years on?

FREEDOM

US, 2014, 98 minutes, Colour.
Cuba Gooding Jr, William Sadler, Sharon Leal, David Rasche, Terrance Mann, Jubilant Sykes, Tony Sheldon.
Directed by Peter Cousens.

Freedom is a bold name and title for a film. The freedom, and the desire for freedom, portrayed here is that of the African- American slaves of the 19th century, the hardships of the transportation from Africa, the sales, the plantations and their owners, often violent and vicious, and the possibilities of escape through the Underground Railroad.

This is a very worthy film, a strong message about freedom, linked with the religious conversion of John Newton, author of Amazing Grace. While many audiences appreciate this kind of film, critics tend to be very cautious, not wanting to be identified with a religious-themed film, expressing over-sensitive remarks about the social and religious messages.

Be that as it may, many audiences would be very interested in the two stories in Freedom, that of the slaves in the 19th century and the story of John Newton in the 18th century. The two plotlines are intercut throughout the film, but brought together at the end where the main slave taking his family to freedom is the great grandson of a boy slave that John Newton gave his Bible to.

Cuba Gooding Jr has a substantial role, (different from the many straight-to-DVD action films in which he has appeared for so many years). He is also one of the executive producers of this film. He plays Samuel, who organises plans for his family’s escape, for his elderly mother, his wife (who is actually the daughter of the vicious plantation owner, mixed-race) and his son. And the film shows in some detail the various steps for escape via the Underground Railroad, the places travel to, the time taken, the wide range of dangers and difficulties even to the Canadian border and freedom, and the reality of legislation against anyone helping the slaves escape, the setting being the 1850s, not too long before Lincoln’s abolition of slavery.

The slaves on the plantation are helped by a Quaker, Mr Garrett, who helped slaves over many decades, to a refuge beyond the plantation, travel by cart and horse, risking road barriers with plantation-hands and guns, to a Quaker house and hiding, to escape on horseback, to hiding on a train in cotton bales, assisted by slaves, to the Mason- Dixon line where they are taken in by a theatrical troupe and helped across the line to meet the famous abolitionist, Frederick Douglass.

Life on the plantation is presented vividly, especially in the anger of the owner and his whipping of one of the slaves who risked his life to let the others go and was caught. Audiences will be moved by watching the experience as well as being informed on the realities of the Railroad.

And, intercut with this story is that from 100 years earlier, the story of John Newton. Newton had been in the Navy, had been flogged, had found himself put in charge of a slave ship – accepting the reality of the slave trade as part of Britain’s life. He is engaged to be married and his fiancee gives him a Bible with an inscription about freedom. We see Newton in Gambia, at the slave market, the branding of the slaves, their being put on the ships in cramped conditions, which leads to a number of deaths and illness. There is an educated slave, Isaiah, who has an influence on Newton and who consoles the young boy whose family had died – the great-grandfather of Samuel, escaping 100 years later.

Moved by the slaves, tormented by dreams and buffeted by a vast storm, Newton has something of a conversion experience and, on his return, after the wedding ceremony, he sings Amazing Grace – as do the descendants of the slaves in the 19th century.

The story of Newton and his influence on William Wilberforce was seen in the film Amazing Grace, a film to be recommended. Another film on Britain and slavery, social and political attitudes, which is worth seeing is Belle.

1. The title? Significant theme? The Underground Railroad? the slave ships from Africa? Amazing Grace?

2. The impact of the film for African- Americans? For all Americans? World audiences? The end comments and the number of slaves in the world at present?

3. The two stories, intercutting, the links? Working well together?

4. The 1850s, slavery in the United States? The Monroe plantation, large, the overseers and their cruelty, the behaviour of the slaves, cowed into submission? The owner and his vicious attitudes? Monroe, his despising his father for softer attitudes? Vinessa as his daughter, mixed race? Attitude towards the runaways, pursuit and payment, summoning Plimpton, giving him the money, relentless. Demanding that the slaves be brought back alive?

5. The runaways, the grandmother telling the story, Samuel as the man in the family, his love for Vinessa, his son Jim? The focus, for the impact of the story, on just one family? The old slave who sacrificed himself so that the others could escape, leading the pursuers in a different direction? His being brought back, being whipped, whipped by Munro also?

6. The details of the Underground Railroad, starting on the plantation, the Quakers and their assistance, walking, carts, horses, the funeral with the actors, the barriers on the road, the Quaker house, hiding? The train and hiding in the cotton bales? Hiding in the theatre? The mock funeral, helped by Frederick Douglass, getting to the border, Canada and freedom? The time taken, the distances? The legislation against any help for slaves?

7. The characters of the family: Samuel, a hard man, not believing in God, care for his family, leadership? Plimpton, the former slave hunter, his killing the wrong man, his retirement? His principles and his perseverance? Garrett and the Quakers, the refuge in the house? The theatre and the performances, the actors, disguises? The spirit of the owner of the theatre, his wife, strong, the singing of the songs? Everyone when in? The performance of British plays in these distant outposts? Plimpton and his associates, whipping the runaway at the plantation, their vicious attitudes in pursuit, wanting to kill but Plimpton saying that Monroe wanted the slaves alive? The death of the grandmother, the pathos of urgently? Freedom The burial, the family moving on, the support of the Bible, Samuel and his reading the Bible, kneeling in prayer? His being captured by, the gardens, his shrewdness, Frederick Douglass and his help? His fame as an abolitionist?

8. The link to the Newton story, through the Bible, the picture of Britain in the 18th century? The slave ships, the slave trade, the traders? Newton, his naval service, being flogged, let go, captaining the slave ship? His relationship with Mary, the caution of her friend, the plan for marriage, the gift of the Bible? The quote about freedom? Newton in Africa, Gambia, the slaves, their treatment? The branding of the slaves? Going on board the ship, the cramped situations, the attempted suicides, illness and deaths, burials at sea? The statistics for survival? Isaiah, his role in the boat, his education, the young boy and his mother’s death, Newton unable to get him to eat food, Isaiah and his influence, teaching the boy to sing? The storms? Newton and the powerful dreams? Isaiah’s death, removing his collar? Landing in America, Newton giving the Bible as a gift to the boy, the picturing of the sales of the slaves? Newton’s return to England, the wedding, his speaking about his experiences, singing Amazing Grace?

9. The family at the Canadian border, Plimpton catching them after the failed attempt with the actors portraying the funeral? The associates, deaths, Plimpton being shot, Samuel tending to him?

10. The overall effect of the film? Message, some considering it too preachy, but audiences being involved in the plot, characters, the emotions of the experience?

GOD’S NOT DEAD

US, 2014, 113 minutes, Colour.
Shane Harper, Kevin Sorbo, David A.R. White, Dean Cain.
Directed by Harold Cronk.

This is more a film for believers rather than being an effective means for change of mind or for conversion. It is a faith-based film from faith-based production companies – and, at the end, there is a very long list of court cases, federally and in various states of the US, where universities and colleges have been challenged because of their bans on the activities and meetings of Christian groups.

The plot is quite straightforward illustrating its title. A young man, Josh (Shane Harper), enrols at university for pre-law courses. He is interested in a philosophy course but is warned about the hard line of the lecturer. The lecturer is Professor Grandison (played by Kevin Sorbo who has spent a lot of his careers portraying invoicing Hercules in television films and series and in animated films – and who has weathered the years much more successfully than Arnold Schwarzenegger). The professor is anti-God, exceedingly hostile, not afraid to voice his opinions with some arrogance and who requires everyone in the class to write on a piece of paper, God is dead, and initially it and hand it in.

The point is that Josh hesitates, decides not to sign to the chagrin of the professor. Josh is to be allowed three 20 minute sessions after the lectures in order to make a case that God is not dead. At the front of the lecture room is a list of prominent thinkers of past and present who were or are atheists, including Richard Dawkins.

There is pressure on Josh to drop his case, his rather demanding fiancee walking out on him (perhaps lucky escape) and his parents disapprove. Nevertheless, he gets books from the library, reads to prepare, goes to church and encounters a sympathetic pastor, and, with some growing success, he makes his three presentations. It is here that the screenplay incorporates a lot of of philosophical, scientific and religious argument.

There are several sub-plots: a Chinese student who attends the course, meets Josh, listens attentively and is persuaded that God is not dead, shocking his Chinese father back home who is definitely not a theist; a young woman who visits her mother in a residence, the mother having dementia, turns out to be the girlfriend of the professor who is very controlling of her, which she resists, and professes her faith, and discusses things religious with the pastor; a young Muslim girl is taken to work by her devout father, she removes her veil when out of his sight, works in the canteen, hears Josh talking about his case – and then she is revealed as having been a Christian for a year and is ousted by her father; it is also the story of the pastor who wants to go on a break with his visiting African missionary friend, but his car and rental cars won’t ignite and he remains at home, encountering those in need – and hearing his African friend always saying, in every circumstance, God is good. The professor’s girlfriend has a very worldly brother, very successful in business, fulfilling all his desires, but who is grossly arrogant towards his girlfriend, a journalist who has been diagnosed with cancer. This brother does not want to visit his mother because of her dementia but, ultimately, does so and suddenly she makes a lot of very telling statements that have an effect on him.

This is one sequence which works particularly well dramatically, the mother saying all the challenging things, which might seem impossible – and then she turns to her son and asks who he is.

At times, the script is somewhat sermonising, which tends to alienate non-religious and unsympathetic audiences. To that extent, the film is preaching to the converted, a rather fundamentalist converted, who are wary about challenges to the Bible by science. This is where comments about challenges to such writers as Richard Dawkins and Stephen Hawking are incorporated into the screenplay.

There is something of a shock ending for one of the central characters, a deathbed conversion so to speak, which does not work particularly well as drama but as a high-intentioned illustration that God is good, no matter what. Everyone ends up at a rally with a religious music group, The Newsies, singing and giving good counsel to the journalist with her cancer interviewing them.

A glance at the Internet Internet Movie Database indicates that there are over 400 bloggers commenting – a huge percentage of them expressing themselves in very hostile entries.


1. The title and expectations? A theist film? Its impact on believers? On atheists and agnostics? Portrayal of stances on God and about God, authors and authorities? Philosophy and science? The Bible and science?

2. Faith-based production, a film of convictions, re-affirming faith? Intentions for conversion or not?

3. The final credits, the list of cases in American universities and the banning of Christian speakers and groups? An apologue for freedom for Christian groups? The website? The issue of freedom? Religious freedom?

4. How well does the film work as our drama, its script, expressions of faith, earnest, treatment of enemies of God, issues of grace and ‘God is good’?

5. The basic story of Josh: age, at university, his girlfriend of six years, meeting her in youth work, his parents and their hopes for his career in law, his study for pre-law, enrolment at the University, going to the stand, his being warned about Professor Radisson and his class? The class, the professor asking everyone to write the sentence, God is dead, and initial it? The whole class doing this? Josh and his refusal? The professor’s reaction? A compromise for Josh to present at the end of three sessions and argument that God is not dead? His being mocked? His fiancee, her angry reaction, urging him to drop everything, her decision to break with him – revealing her demanding personality? His parents wanting him to drop the classes? Issues of conscience and conviction, details of his study, the books from the library, discussions and the Muslim girl overhearing him in the canteen? The first lecture, his attempts, quotations, Richard Dawkins, Stephen Hawking? Professor Radisson mocking him? Continued study, his going to the church, the pastor talking with him, that he was here for Josh? Third class, greater feeling? The Big Bang theory, creation, issues of Genesis and evolution? Challenging the professor, his hatred of God and his admitting it? The whole class listening, standing in approval?

6. The Chinese man, his enrolment, going to the lectures, phoning his father, his father being against God, his listening, meeting Josh in the library, his change of attitudes?

7. Professor Radisson, his assurance, his class, his superiority and arrogance, eliminating God, the paper and the signatures, the confrontation with Josh, his reaction, the three classes?

8. The professor and his relationship with Nina, the wine and its being in the car, cooked, the guests ridiculing it? The guests, the role of Nina, her being humiliated? Saying that the help was leaving? Going to the pastor for help, her faith? Her confronting the professor in the foyer at the University, in public, his wanting her to be quiet, leaving him? Her mother, dementia, her visits to her mother?

9. Nina and her brother, his success, money, power, business? His relationship with Amy? Amy and her interview with the Robertsons, her journalistic work? Going to the doctor, the tests, the fact that she had cancer? Her saying she had no time for cancer? Going to dinner, the brother and his supercilious reaction, not wanting her to talk about the cancer, her interrupting his enthusiasm about his promotion, her leading?

10. The pastor, going to the station to meet his African missionary friend, their plans, the car and no ignition, the same with the different rental cars? Staying? The pastor and his meeting Josh, talking with the young Muslim girl? With Nina? His African friend, always saying that God was good, no matter what? Their wanting to get to the concert, stuck in traffic, Professor Radisson in the accident, assisting him while he was dying, getting him to make a declaration of faith, within three minutes and that he would be in God’s presence? The missionary saying God was good? How plausibly dramatic was this scene?

11. The Muslim girl, her father and his severity, wearing the headscarf, taking it off when he left, working in the canteen, hearing Josh and his statements, her phone and the Jesus message, her brother seeing it, telling the father, the father ousting her? Her being a Christian for a year? Going to see the pastor, his support of her? At the rally, talking with Josh?

12. The concert, Amy going to see the Newsies, interviewing them, the discussions about faith, the support of her, giving her hope?

13. Josh going to the rally, with the Chinese man, the Muslim girl talking to him?

14. The professor, his life and arrogance, friends, family, his being sorry about his treatment of Nina, the issue of hating God, his family background and deaths, decision to go to the rally, in the traffic, his being hit by the car, dying, words of faith?

15. The concert, the Robertsons, Amy having interviewed them earlier, their enthusiasm?

16. The film as very American, narrow in its Christian perspective, evangelical, focusing on Jesus, not having an awareness or regard for other religions, as
seen in the Muslim girl’s story?

17. The effect of this kind of film, on those who believe, challenging non-believers or not?

NOISE

Australia, 2007, 108 minutes, Colour.
Brendan Cowell, Maia Thomas, Nicholas Bell.
Directed by Matthew Saville.
Noise was well received by critics on its release. Popular audiences were divided.

The writer-director was highly successful seven years later in writing and directing the police drama, Felony.

The noise of the title includes the general noise in the cities but focuses especially on the issue of tinnitus as affecting a policeman, his collapse on an escalator, going to the hospital for diagnosis, his living with the ringing in his ears, his girlfriend suspicious after reading his documents and thinking he might have cancer.

The focus of the film is on a killing spree in Melbourne train, with one survivor, a young woman who was wearing a headset at the time and then discovers the bodies. She is initially treated harshly by the police. Gradually she remembers more and more about the experience, even the behaviour of the killer. She is afraid that she might be identified and he would come for her again. He had stolen her painting and returned it with the caption, Dead Meat, to the police trailer while the officer was absent on a case.

The officer is Mc Gahan, played by actor and playwright, Brendan Cowell. He thinks that he has been penalised because of the tinnitus but is assigned to a trailer parked in a street in Sunshine where he encounters a number of local people, the former boyfriend of a woman who has been murdered, a bigot spouting his racist ideas, who eventually pulls a gun on him. There is also a mentally-impaired young man in the neighbourhood, Lucky Paul.

While there is an emphasis on police investigation, the film is more of a psychological drama, of the young woman gradually becoming aware of what happened to her, of the policeman during his stint in the trailer.

At the end, there is one of those interesting discussions about what happens at the moment of death, whether good people reaffirm their choice in the 10 seconds between the stopping the function of the heart and then of the brain, or whether those who are ‘fuckwits’ continue in that choice of life.

In 2014-2015, there were quite a number of crime dramas – including Felony, which makes Matthew Saville something of a pioneer.

1. The acclaim for the film? Divided public opinion? Awards?

2. The title, silence and noise, the effect of noise? Tinnitus?

3. The Melbourne settings, the railway, the station, the underpass, the train carriages, the crime scenes? The police officers? The trailer? Interiors? Situations, Sunshine, the streets?

4. The train, Lavinia, her headset, sitting in the carriage, the man falling, her realisation, seeing the various corpses, on the floor, the train stopping, the police forcing her to the ground, on the stretcher, wanting her purse, the discovery that she was diabetic? Her picture gone? In hospital, Detective Burchall interviewing her, the sympathetic policewoman looking after her? Her lack of memories? Their increasing over time, seeing the killer, the fear, his having the gun to her head, escaping from the train? Her fears, that he could identify her? Her father in the television interview? The picture, having Dead Meat painted on it? The removal of the paint, returning the picture to her? Her visit to the trailer, talking with Mc Gahan, wanting straight talk, his opinion on whether she should be afraid not? His reassurance? Her leaving in the police car, hearing the shots and looking back?

5. The character of Mc Gahan, at the station, his collapse on the escalator, in hospital, the diagnosis of tinnitus, his experience of the ringing in his ears? The tests? His girlfriend, preparing to sing at the Carols, her police work? His going to headquarters, the officer criticising him, asserting that thickly he was being got at, the argument about the document and hospital? Being assigned to the trailer? The woman officer and his relieving her? John Smith and his turning up, the wisecracks and their not being understood? Sitting in the trailer, reading? The disturbance outside, the drunk, the gun, his ordering him away, the owner of the shop, hosing down the vehicles, talking?

6. The dead woman, the site of the crime, the journalists and newspapers, television commentaries, wanting to connect the murders? The murdered woman’s boyfriend, coming in to chat? His own burdening himself? Comfortable with Mc Gahan?

7. The young man coming in, his bigotry, swearing, Mc Gahan confronting him, ousting him?

8. The character of Lucky Paul, slow witted, coming to the trailer, the biscuits, wanting two, taking Mc Gahan’s cap, Mc Gahan going to get it back, the confrontation with lucky Paul, the photos? The driver identifying Paul, involved in the attack on him with friends? Mc Gahan and the former boyfriend fighting, the arrests? Mc Gahan missing the return of the picture? At home, the tinnitus, the information about his case, his girlfriend wondering whether he had cancer? Her anger with him? His life quietly at home? In the trailer, Christmas, watching the carols? The finale, the biggest arriving, hostile, shooting, Mc Gahan and his pursuit, the shooting and the car crash, Mc Gahan himself being shot, shooting the killer?

9. The importance of the discussion about heaven and hell, moments of death, reaffirming once basic choice, living a good life, or being a fuckwit? The importance of this when he himself was shot?

10. The details of the police investigation, Burchall and his presence, interrogations, of Lavinia, of Mc Gahan, the issue of the painting and his visiting the trailer? Those at work at the trailer? Both men and women in the force?