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Film fests are no place for the faint-hearted, or the polite

I have always liked what Harold Pinter used to say about coughing in the theatre. Never one to mince his words, he called it an act of unconscious aggression. Colourful and curmudgeonly, perhaps, but a valid point. If coughing is

Expanded Screen Writing, Expanded Cinema

Robert McKee is in Australia this month, on the road with his always well-attended seminar series. He will no doubt be peddling his usual brand of snake oil, passing down from on high the so-called principles of the well-written screenplay. Of course, to call these principles snake oil might perhaps be Some patients on Lipitor

Escapist fantasy a poor guide to the real India

No one following the meteoric rise of Slumdog Millionaire over the past few months, watching as it morphed from independent underdog (or should that be slumdog?) to multi-award-winning phenomenon, would have been very surprised when it cleaned up at the

Homeward Bound: The Politics of Coming Back in Ten Empty and Mullet

“People think country towns are full of rednecks and gossip. Or they think they’re about homespun wisdom and preserved fruit. There’s some of that here. But mostly, it’s full of people just trying to get on with each other. Most

That Single Thumb

Occasionally, when I am in a self-flagellating mood, I try to come up with a list of ten things that differentiate experimental cinema from so-called video art. When I feel like flagellating others, I ask my friends to come up

The Rest is Static: The Tragedy of Hamlet, Prince of Denmark

It was not an audience of cinephiles; indeed, it was not the usual film festival audience at all. Oscar Redding’s The Tragedy of Hamlet, Prince of Denmark was about to have its world premiere at Today, with ever-developing medical female levitra

Andrzej and Krystyna go Boating: Roman Polanski’s Knife in the Water

With its oblique but unrelenting psychological violence, politically charged nihilism and incisive visual forms – the images in this film, like the knife of its title, will cut you if you get too close – Roman Polanski’s Nóz w wodzie (Knife in

Cinema Without Borders: The 56th Melbourne International Film Festival

An international film festival is kind of like an extended news bulletin – a dispatch wired back to us from the frontlines of the cinema. I am loath to call it a window on the world, which, to me, reeks