THE CRITIC'S CAPSULE: BRISBANE UNDERGROUND FILM FESTIVAL 2016

The very nature of the ‘underground film’ ensures that opinion will be both passionate and divided as to the artistic worth of films wearing that badge. The line-up for this year’s Brisbane Underground Film Festival is as eclectic as any in the 3-day event’s history. SCREEN-SPACE was very kindly afforded access to a cross-section of this year’s feature entries and found the 2016 mix just as invigorating, engaging and, well, ‘divisive’ as we could have hoped for…

600 MILES (Dir: Gabriel Ripstein / U.S., Mexico; 85 mins)
Gabriel Ripstein’s slow-burn desert-noir thriller presents a compelling narrative; a hardened ATF agent (Tim Roth, superb) finds himself on a knife-edge odyssey as the prisoner of a low-status arms runner (Kristyan Ferrer). Set against the border tensions that pit corrupt officials, Mexican cartel ethics and Gringo arrogance against each other, the debutant director’s low-key aesthetic and ultra-realism proves gripping and insightful. Despite the potential for the film to degenerate into B-movie posturing and familiar ‘Mexican bad-guy’ tropes, 600 Miles remains steadfastly a character piece, dissecting both the shared journey of the dual protagonists and the culturally imbalanced discourse between nations north and south of the border. The film misses Harrison Thomas as Carson, a short-fuse white trash big talker whose procuring of illegal arms opens the film with a unique, pulsating intensity. Alongside the Oscar-nominated documentary Cartel Land, Ripstein’s vision suggests US filmmakers are considering a new perspective on the Mexican-US drug war.
Rating: 3.5/5

GIUSEPPE MAKES A MOVIE (Dir: Adam Rifkin / U.S.; 82 mins)
The destinies of Adam Rifkin and Giuseppe Andrews seemed inexorably aligned. Sensitive and appealing on-screen, Andrews was on course to stardom, after parts in Never Been Kissed, Independence Day and Pleasantville; Rifkin rattled cages with the cult shocker The Dark Backward, then went mainstream with The Chase and scripts for Mousehunt, Small Soldiers and Underdog. Hopes were high when Rifkin and Andrews teamed on 1999’s Detroit Rock City, but it bombed. Thirteen years later, the pair are reunited for this idiosyncratic, deeply personal work. Rifkin's verite camera tracks a dishevelled but vibrant Andrews, who now lives amongst the down-on-their-luck denizens of a trailer park in Ventura, as he directs his new opus, 'Garbonzo Gas'. The work is the latest of many coarse, crazed character studies starring the drunks, drug addicts and manic-depressives he calls his neighbours. Rifkin clearly understands the boundless drive and feverish creativity that fuels Andrews. Giuseppe Makes a Movie celebrates the redemptive essence and raw power of barebones filmmaking and the meaning it can bring to damaged lives.
Rating: 4/5

UNCLE KENT 2 (Dir: Todd Rohal / U.S.; 73 mins)
Only diehard Joe Swanberg completists will recall his 2011 film Uncle Kent; the notion of a sequel seems particularly odd (Ed: we’ve not seen it). But Uncle Kent 2 is not the usual Hollywood cash-grab follow-up. Swanberg’s collaborator Kent Osborne (pictured, right) plays a version of himself, a fringe industry presence desperately trying to a) gather the approval of his Uncle Kent co-stars (including Swanberg) for the new project, and b) struggling with writer’s block as the world literally comes to an end around him. Of all the BUFF 2016 films, director Todd Rohal’s proves the most energetically subversive; Osborne’s not really an actor and the film never entirely commits to any conventional notion of a narrative, but both prove beguiling and compelling. Recalling The Coen Brother’s Barton Fink in its soul-crushing study of ‘The Block’, Uncle Kent 2 is fearless, farfetched and very funny.
Rating: 4/5   

NASTY BABY (Dir: Sebastian Silva / U.S. , Chile; 101 mins)
A trio of natural performances imbued with real-world chemistry highlight Sebastian Silva’s New York-set drama. The writer/director takes centre stage as Freddy, a highly-strung artist in a committed relationship with boyfriend Mo (Tunde Adebimpe) and a loving friendship with the free-spirited Polly (Kristen Wiig). She wants a baby by Mo’s seed, and the majority of the film’s first half focuses in on the comedy/drama inherent to that plotline. But the presence of neighbourhood nuisance ‘The Bishop’ (a terrific Reg E. Cathey) is impacting their lives; from revving his leaf blower at dawn and judging sranger’s parking skill to increasingly disturbing and intrusive acts, The Bishop is proving to be Freddy’s neighbour-from-hell. So light and natural is Silva’s take on Big Apple life, the encroaching menace that The Bishop represents and the rage he inspires in Freddy proves particularly disconcerting and, ultimately, shocking. After the off-kilter weirdness of Magic Magic and Crystal Fairy & The Magical Cactus, the Chilean director returns to the dark-shaded humanity of his breakout hit, The Maid. Nasty Baby is his most satisfying work to date.
Rating: 3.5/5  

A FEAST OF MAN (Dir: Caroline Golum / U.S.; 82 mins)
Never as clever or funny as it thinks it is, director Caroline Golum’s tone-deaf riff on social manners and class mores pits a bunch on annoying one-dimensional constructs against each other in a ‘will-they-won’t-they’ spin on the ‘would you rather…’ game. Reuniting after the death of a mutual friend at his extravagant estate (one of many irksome nods to America’s entitlement culture), the shrill, false personalities work through some not very interesting issues while musing over whether or not they do what the dead friend’s will asks of them – eat the corpse to get a slice of the millionaire’s bank balance. Sometimes Golum plays it uninspiringly broad, like an old bedroom-hopping/door-slamming farce; sometimes she strives for whitebread chamber-piece wit, a ‘la Whit Stillman. Very little of it works, the ultimate failing a final act twist in which the denouement betrays those patient enough to have stuck with the premise. Produced by Fifth Column Features, an initiative that boasts of an anti-establishment agenda…while indulging in the same tired ‘Lloyd Kaufman cameo’ schtick as fifteen(!) other 2016 B-pics.
Rating: 2/5 

Unpreviewed:   APPLESAUCE (Dir: Onur Tukel / U.S.; 91 min, 2015)

Read the SCREEN-SPACE Preview: 2016 Brisbane Underground Film Festival here.

SKIN DEEP

Stars: Zara Zoe, Monica Zanetti, Elizabeth Blackmore, Jeanie Drynan, Billie Rose Prichard, Monica Trapaga and Robert Alexander.
Writer: Monica Zanetti
Director: Jon Leahy

Rating: 4/5

A dozen drunken dusk-to-dawn hours on the streets of Sydney’s boho mecca, Newtown, prove ample time for two strangers to find friendship and grapple with existential angst in director Jon Leahy’s impressive debut feature, Skin Deep.

The intoxicating free spirit and soft-hearted toughness synonymous with the arty inner-city enclave pulses through writer and co-lead Monica Zanetti’s simply structured but insightful script. The premise of stereotypes being deconstructed and souls being bared over the course of a night time odyssey is not new; no less than Richard Linklater’s Before… trilogy is the genre standard bearer and has inspired many imitators. But Zanetti and Leahy find a freshness in their characters and a frank honesty in the drama that is entirely engaging.

The protagonists are prim Northern Beaches ‘straightie’ Leah (a very fine Zara Zoe), outwardly composed but bravely facing her own young mortality; and, Caitlin (Zanetti, a natural and compelling presence), an out-and-proud lesbian struggling with her own post-breakup inner turmoil. When they ‘meet-cute’ over a CD dump-bin just off King St (one of many nods to local flavour that inner-west audiences will warm to), circumstances lead to a few lip-loosening ales at the Bank Hotel and the new friend’s evening of personal discovery takes flight.

The film symbolically references the outer shell which binds humanity in more ways than just it’s ironic title. Caitlin sports bandages on her forearms, suggesting she ‘cuts’ as an outlet for her anxiety; despite her healthy appearance, Leah is riddled with fatal melanoma cells (the story was inspired by Zanetti’s own struggle to overcome skin cancer). Zoe’s defining on-screen moment is a heartbreaking emotional meltdown in a cemetery, the honesty of their time together finally breaking down her defences.

Caitlin’s sexuality remains a non-issue for much of the film, with fleeting references and precise observations imbued with the same integrity that drives the rest of the production. A very sweet passage of dialogue between Zanetti and Robert Alexander as her broad-minded father is indicative of the film’s positive attitude to Caitlin’s life direction. Fittingly, both mainstream and LGBTIQ festivals have received Leahy’s sensitive, low-key take on the lesbian lifestyle warmly.

At a crisp 72 minutes, there is very little room for padding in the narrative; key moments, including a hilarious detour to a tattoo parlour and an awkward encounter with Caitlin’s ex, Isabel (Elizabeth Blackmore), are kept lean and played with a refreshing bluntness. An encounter with some street toughs in a children’s park feels stagey, if only because so much of what has unfolded previously rings convincingly true.

All tech departments deliver big-budget expertise on the low-budget shoot, particularly DOP Rodrigo Vidal-Dawson’s skilful use of after-dark light sources and Adrian Powers’ artful editing, which provides often lengthy passages of dialogue with crucial pacing.

Skin Deep Theatrical Trailer from ScreenLaunch on Vimeo.

THE 5th WAVE

Stars: Chloe Grace Moretz, Nick Robinson, Maika Monroe, Zackary Arthur, Maria Bello and Liev Schreiber.
Writers: Akiva Goldsman, Susannah Grant and Jeff Pinkner.
Director: J Blakeson

Rating: 2.5/5

A trope-y mash-up of The Hunger Games and Red Dawn overlaid with some ID4/Body Snatchers beats is the best that Columbia Pictures and hired-gun director J Blakeson can make of author Rick Yancey’s YA publishing hit.

With Katniss Everdeen now out to pasture, Divergent heroine Tris showing some fatigue and male-centric actioners like The Maze Runner and The Giver losing traction (not too mention the DOA 2013 mess, Mortal Instruments: City of Bones), Hollywood must have high hopes that 2014 ‘it-girl’ Chloe Grace Moretz can launch a fresh franchise to bolster the ‘young adult’ (ie, teen girl) movie-going demo. But the leaden scripting from heavyweight scribes Akiva Goldsman (A Beautiful Mind) and Susannah Grant (Erin Brockovich) refuses to spark into sequel-sustaining life, instead offering formless melodrama and breathy romance juxtaposed with kids-in-combat action sequences.

Moretz is Cassie Sullivan, a spunky every-girl whose middle-class happiness is torn asunder with the arrival of interplanetary invaders known as The Others. The attacks come in ‘waves’; literally, at one point, when a massive ocean surge lays waste the coastal cities of the planet and sends Cassie and kid-bro Sam (Zackary Arthur) up a tree for safety 100s of miles inland.

The first act, in which planes fall from the sky, a pestilence wreaks havoc and bands of survivors are corralled into army ghettos overseen by a grizzled Liev Schreiber’s Colonel Vosch, reps solid storytelling and convincing ‘survival mode’ tension. The plot contrivances that separate Cassie from dad Oliver (Ron Livingston) ring true enough for this type of genre pic; the early stages of her cross-state odyssey to save Sam while avoiding alien scouts is eminently watchable.

But Cassie’s mission and the narrative’s impetus unravel when our heroine is taken in by solitary farmboy Evan (sensitive beau-hunk Alex Roe). Some rank improbabilities and overripe dialogue, the likes of which may have worked on the page but land with a thud on the big screen, dull the excitement; one cracking bit of woodlands fisticuffs aside, the middle of the film feels dramatically inconsequential when it should be compelling and rich in character development.

Moretz is a solid lead, convincing as both an innocent finding her inner warrior and a modern teen tackling adulthood duties with untapped gusto. Cast with a clear eye as heart throb replacements for Liam Hemsworth and Josh Hutcherson are, respectively, Roe and Jurassic World’s Nick Robinson as all-American Ben Parish. Maika Monroe is the only other standout performer, nailing the tough girl/warrior part played so well by Jena Malone in The Hunger Games instalments.

The central device that posits the army as insidious tools of a faceless ruling force bent on dismantling the traditional American family structure might inspire analyse in some commentators (not to mention the ‘carry this gun for your own protection’ line in armed civil defiance). But those themes remain so resolutely unexplored by the filmmakers that any debate hardly seems justified. The 5^th Wave (its title already sounding like a franchise that has overstayed its welcome) may play well to the younger sisters of the aging District 12 fanatics, but it is a minor YA entrant and middling action-adventure pic by most audience measures.

STAR WARS: THE FORCE AWAKENS

Stars: Daisy Ridley, John Boyega, Oscar Isaac, Adam Driver, Harrison Ford, Mark Hamill, Carrie Fisher, Lupita Nyong’o, Gwendoline Christie, Domhnall Gleeson, Andy Serkis, Peter Mayhew, Max von Sydow, Warwick Davis, Anthony Daniels and Kenny Baker.
Writers:  Lawrence Kasdan, J.J. Abrams and Michael Arndt.
Director: J.J. Abrams.

Watch the trailer here.

Rating: 3.5/5

The Force Awakens is to A New Hope, as A New Hope was to the Flash Gordon matinee serials of yesteryear. Just as those creaky two-reelers inspired a young George Lucas to rework sci-fi adventure tropes for a new generation, so to does director J.J. Abrams now imprint his own frantic filmmaking flourish on Lucas’ source material for the millennial mindset.

Whatever factors rob The Force Awakens of the soulful essence of Lucas’ 1977 blockbuster are, frankly, impossible to define; it will be something as intangible as timing or fate or some such thing. Unlike Lucas’ work, which bowed at the birth of the blockbuster era and spoke with a clear and classic heroic voice, the likes of which young audiences had not encountered previously, Abrams’ vision is very much of its time – busy, self-aware, giddy in the thrall of its own energy and aesthetic. Just as he did so successfully with the Mission Impossible and Star Trek brands, Abrams has breathed new life into Star Wars; why it should then feel lacking in a strong pulse at times is worth pondering.

On the record as a die-hard Star Wars fanatic, Abrams' fan cred comes through in his reverential treatment of thematic and narrative elements synonymous with the series. This honouring of lore may represent his geek-boy spiritual bond or may be in answer to Disney’s demands to not mess with the formula, or both. The blueprint to which Abrams adheres is a strength and a weakness; the warm glow of nostalgia is all over The Force Awakens and imbues immediate goodwill, but Abrams does little to earn his own stripes as a conveyor of franchise mythology (unlike Irvin Kershner achieved with The Empire Strikes Back or, to a lesser extent, Richard Marquand on Return of The Jedi).

The heroic characters are strong in this one, with Daisy Ridley’s desert scavenger Rey firmly establishing a spunky, resourceful central figure and strong bond with the plucky droid, BB-8; John Boyega’s defecting Stormtrooper ‘Finn’ is slightly less well defined, but the actor is a strong presence and establishes an honest chemistry with Ridley. Oscar Isaac’s X-wing hero Poe Dameron is all square-jawed gusto; Lupita Nyong’o’s CGI-rendered cantina owner, the wizened Maz Kanata (looking too much like The Incredibles’ Edna Mode) seems poised to become Yoda 2.0. The impact of Harrison Ford as aged scoundrel Han Solo is invaluable, his superstar charisma and weathered ‘grey fox’ appeal the pic’s greatest asset. His scenes opposite Carrie Fisher’s Leia (no longer a ‘princess’, now settled into a strategic role with the Rebellion) are melancholy and warm.

Abram’s villains are less compelling, none matching the malevolence of Eric Bana’s Romulan Nero in the 2009 Star Trek reboot. Adam Driver’s Kylo Ren casts a meagre shadow over the proceedings, his merciless mean-streak seeming no more ominous than that of schoolyard bully when faced with Rey’s resistance. Some convoluted plotting that ties Ren to our heroes does not convince, leading to a development that should be a series-defining moment but which instead plays as a throwaway contrivance. Andy Serkis lends his mo-cap skills to the CGI-generated Supreme Leader Snoke; solid actors such as Domhnall Gleeson and Gwendoline Christie adopt the stuffy Brit baddie archetype in the dark-suited military roles (then it was ‘The Empire’; now, it is ‘The First Order’).

When the film does soar it is on the back of the production design and effects crews. A sequence that re-introduces the Millenium Falcon leads to a thrilling chase sequence on the desert planet Jakku; majestically staged dogfights between screeching Tie Fighters and beautiful X-wing crafts are truly breathtaking.

To put it in ‘old franchise’ perspective, The Force Awakens is immeasurably better than the dire Lucas-directed prequels and probably as good as Return of The Jedi. But it lacks the free-wheeling bravado and pure thrill of A New Hope and the smart scripting and artistry of The Empire Strikes Back. As a kicker for a new raft of sequels, spin-offs and merchandising, it is serviceable and entirely enjoyable. The bitter irony is that the very thing that inspired its existence also created the frenzied, blockbuster-hungry studio system that reins in its potential.

THE LAUNCHPAD DIRECTORS: REVIEWS & INTERVIEWS FROM A NIGHT OF HORROR/FANTASTIC PLANET 2015

For the second consecutive year, Screen-Space was a proud contributor to the annual A Night of Horror/Fantastic Planet Film Festival, which closed out the 2015 edition last Sunday night. In addition to presiding over the Jury, we conducted the Launchpad Interviews – Q&As with film-makers world premiering their latest at ANOH/FP. 

Each director proved open and engaging, their films – a found-footage monster movie; a bleak take on child exploitation and violence; and, a genealogical-themed apocalyptic thriller – strong and unique visions. But were they any good…?

PIG PEN
Directed by JASON KOCH (Pictured, above right).
RATING: 4/5
From the first frame, this brutal odyssey into the nihilistic netherworld of disenfranchised suburbia is the stuff of nightmares. Koch has walked a similarly dark path in his two previous efforts (Lamplight; 7^th Day), but many will be unprepared for the bloody dismemberments, psychological torment and teenage exploitation that feature so prominently in this truly shocking vision. Countering the ferocious presence of Vito Trigo as the sadistic psychopath/stepfather Wayne is Lucas Koch as Zack, aka ‘Pig Pen’. The actor (the director’s son) evokes a degree of empathy as the wayward, victimised tween-ager that is truly heartbreaking; few Best Actor trophies in the festival’s nine year history have been so richly deserved. As the mother helpless in the face of her own demons and witness to her son’s disintegrating childhood, Nicolette le Faye serves Koch Snr and Jnr superbly.
The Launchpad Interview: “I would have never been able to approach another parent of a child actor and say, ‘Trust me, it’ll be safe.’ Where I knew this would actually be the case, others may not have been easily convinced.” Read the full interview here.

GITASKOG
Directed by DRAZEN BARIC (Pictured, above centre).
RATING: 3/5
Debutant Drazen Baric’s calling-card effort is a solid entry in the found-footage/cabin-in-the-woods genre. It falls well short of its inspirations (Evil Dead; Cabin Fever; The Blair Witch Project), but does manage to recall (somewhat unexpectedly) John Boorman’s wilderness-set study in macho posturing, Deliverance. A group of brash, occasionally ‘dickish’ man-child archetypes disrespect the native people and their land while checking out a log home by a lake in the Canadian wilderness; said lake may also be home to a mythical beast, due its ritualistic feeding. See where this is going? The shrill yelling and goofy raunchiness of the group gets tiresome and the leaps in logic needed to establish the camera coverage is naff, but the money-shot in any found-footage monster pic – the reveal of the beast – is handled effectively by Baric. His film never quite soars above the clichés, but moments of convincing terror do emerge.
The Launchpad Interview: “It was an incredible risk to make this type of film in this type of genre because of today’s impatient sensibilities and lack of tolerance. We made this film on the basis that it would be something that ‘we’ would want to watch.” Read the full interview here.

NORMAL
Directed by MICHAEL TURNEY (Pictured, above left; with lead actress Nicola Fiore).
RATING: 3.5/5
…or ‘The Most Ironic Film Title of the Year’. Michael Turney has an eye for the brazenly shocking – his film opens wordlessly as his blindfolded, headphone-wearing protagonist, Pingo (Nicola Fiore), submits to a stranger’s animalistic thrusting. But, despite some confronting sex and violence, to 'shock' is not Turney’s modus operandi; the auteur’s first feature is both stinging social satire and oddly intimate account of a foretold fate. In searching for an emotional and spiritual self-knowledge, Pingo discovers a dark destiny that will impact all of mankind. Normal feels small-scale in its execution (and occasionally a bit too oblique for its own good), yet resonates as a horror/drama with lofty artistic and thematic ambitions. Clearly energised by the dark corners and edgy eccentricities of the NYC shoot, Turney amps up the end-of-days imagery in the final act and the lasting impact is both emotional and visceral.
The Launchpad Interview: “My main theme is always balance and I hope people realize that men and women need each other to maintain it regardless of how frustrated we may be with one another.” Read the full interview here.

A NIGHT OF HORROR VOLUME 1

Stars: Bianca Bradey, Craig Alexander, Jessica Nicole Collins, Jessica Hinkson, Karissa Lane, Jane Barry, Rosie Keogh, Pauline Grace, David Macrae, Steve Hayden, Emily Wheaton, Lelda Kapsis and Tegan Higginbotham.
Writers: Daniel Berhofer, Bossi Baker, Jon Hill, Clare d’Este, Goran Spoljaric, Carmen Falk and Matthew Goodrich.
Directors: Enzo Tedeschi, Bossi Baker, Justin Harding, Rebecca Thomson, Evan Randall Green, Goran Spoljaric, Carmen Falk, Matthew Goodrich, Nicholas Colla and Daniel Paperis.

A Night of Horror Volume 1 will screen as the Opening Night feature at the 2015 A Night of Horror/Fantastic Planet Film Festival; ticket and session information can be found at the official event website.

RATING: 4/5

The opening ‘Elm St’-ish chords foreshadow the nightmare landscape beckoning in A Night of Horror Volume 1, an Australian anthology pic brimming with an artful corpulent excess and supremely slick genre smarts. A unique initiative between co-producers Enzo Tedeschi (The Tunnel, 2011) and Dean Bertram, founder of the Sydney genre celebration from which the project takes its name, A Night of Horror Volume 1 deserves attention from international splatter fests that pride themselves on breaking new, fresh visions.

Tedeschi self-helms the compelling bridge-narrative that connects the short films. A disoriented Sam (Wyrmwood’s Bianca Bradey, sporting the modern kick-ass genre heroine ‘must have’ - a white singlet) awakens in a darkened, mannequin-populated warehouse (‘shadowy recesses’, literally and psychologically, is a recurring motif); as she wanders room to room, Sam finds key elements that materialise in the stories to follow.

Dwelling on what lurks in the dark is a key thematic device. The psychosis that inflicts a young woman in Evan Randall Green’s satisfying ‘Dark Origins’ haunts her from the shadows; Bossi Baker’s Hum, a nightmarish riff on the mysterious ‘suburban hum’ that is said to emit from modern cities, exists in a muted, darkened space both physically and psychologically; co-directors Nicholas Colla and Daniel Paperiss explore the ghostly legends of Victoria’s Dandenong Ranges in the ok ‘Flash’. The notion that ‘public transport is hell’ is explored in Goran Spoljaric’s ‘The Priest’, whose titular evil presence (memorably played by a chilling David Macrae) deserves to emerge as the Krueger-like star of the pic.

The film’s most enjoyably scary scenario is Justin Harding’s ‘Point of View’, which features a morgue attendant terrifyingly evading a freshly risen corpse who can only move when unseen (imagine playing the children’s game ‘What’s The Time, Mr Wolf?’ but with a zombie). The influence of Stuart Gordon’s Re-Animator looms large over the segment, one of several knowing references lifted from film and classic literature – an isolated rural family in the grips of grief face-off against a ‘Jack Torrance’-type father/axe-wielder in Matthew Goodrich’s atmospheric Scission; the influence of Grimm fairy tales infuses Carmen Falk’s darkly funny gross-out bit, Ravenous; and, Rebecca Thomson’s utterly revolting, slyly hilarious Botox body-horror skit I Am Undone (which credits ‘pube wranglers’ and ‘boobateers’ as key contributors) recalls elements of Brian Yuzna’s Society and Terry Gilliam’s Brazil.

It’s a tough ask, pulling off an anthology film. Not everyone is going to like everything, all but ensuring a mixed critical reaction; the blending of various visual styles and storytelling techniques will invariably seem jarring to most horror buffs. Even the best to emerge from the current compendium craze (the V/H/S and ABCs of Death series; Fool Japan The ABCs of Tetsudon) waiver in quality.

But Tedeschi, Bertram and their band of skilled, young filmmakers (all stepping up to ‘feature film’ contributor status for the first time) are clearly united in their aims and equally matched in talent. While the look and feel of each segment differs, the relentless drive and unyielding desire to make every bloody post a winner is self-evident; it is that dark spirit that binds and defines both A Night of Horror Volume 1 and the vast horror community, who should lap it up.

SCREEN-SPACE editor Simon Foster is the Head of Jury at the 2015 A Night of Horror/Fantastic Planet Film Festival.

THE SECOND COMING VOLUME 1

Stars: Michael Tierney, Richard Wolstencroft, Gene Gregoritis, Kim Fowley, Kristen Condon, Boyd Rice, Shannon Goad, Larry Wessel, Tora Wessel, Giddle Partridge, Brianna Garcia and Pete Doherty.
Writer/director: Richard Wolstencroft.

Screening at Sydney’s A Night of Horror/Fantastic Planet Film Festival; visit the official website for details.

Rating: 3.5/5

The urge to apply a conventional critical eye to The Second Coming Volume 1 is damn near overwhelming; your critic (who has viewed it twice) regularly muttered to himself, “this needs tightening” and “should’ve cut that out” and “what the hell just happened?” But underground icon Richard Wolstencroft’s ‘vision’ compellingly demands that you accept it on its own terms, in its own voice and at its own pace. Whether you find it an incoherent, self-indulgent mess (as it occasionally seems) or an auteur’s bold, deeply personal interpretation of the classic art that inspires him (which it certainly is), there is no denying that Wolstencroft has crafted a vast, ambitious, truly independent piece of free-spirited cinema.

The Melbourne-based director’s muse is poet William Butler Yeats, whose post-World War 1 poem The Second Coming has been embraced as a mystical musing on mankind’s demise. Wolstencroft utilises the poem’s opening lines to chapter-title his own apocalyptic narrative and arrange his mosaic of key players. ‘Part I: Turning and turning in the widening gyre’ introduces Michael (Michael Tierney), who, having wandered his personal desert and  sought heavenly guidance, unwraps his Baphomet idol and re-engages with his favourite book, Aleister Crowley’s 777 and Other Qabalistic Writings, before heading for the red-light districts of Thailand; ‘Part II: The falcon cannot hear the falconer, things fall apart, the centre cannot hold’ is set largely in Los Angeles, where hot-tempered author Gene (Gene Gregoritis) is pitching a Charles Manson project, while becoming quietly consumed with the notion that the cult leader’s vision for global mass-murder is nigh; and, ‘Part III: The blood dimmed tide is loosed & everywhere the ceremony of innocence is drowned’, which relocates the production to London and invokes the unsettled spirit of Marc Bolan as it peaks inside the drug-fuelled existence of dark spiritualist, Jerome (Jerome Alexander; pictured, above). The director casts himself as Owen O’Hearn, a shadowy facilitator-of-sorts, bringing together all the disparate personalities in service of the end-of-days prophecy.

In addition to Yeats, Wolstencroft has cited American iconoclast Kenneth Anger as a key influence. The underground filmmaking legend’s predilection for frank depictions of sexuality in his landmark shorts is echoed in Wolstencroft’s casting of such adult industry figureheads as longtime collaborator Tierney (aka, retired X-rated woodsman ‘Joe Blow”) and William Margold, legendary 70’s performer and porn industry historian (he thematically binds the sex-and-violence inherent to the premise when he screens a clip from Teenage Cruisers, a 1977 x-rated pic featuring an alleged Manson disciple). Also echoing Anger’s oeuvre is Wolstencroft’s use of occult imagery, a recurring motif in many of Anger’s most revered works. The use of a vast bibliography of reference works in the end credits is a nod to Pier Paolo Pasolini, who did the same in Salo.

Despite boasting of sequences shot on four continents, The Second Coming Volume 1 is a guerrilla effort that was clearly realised on a shoestring budget with a ‘one take’ guiding principle. One can assume from the footage taken in restaurants, airports, hotel lobbies and, quite unexpectedly, the UCLA campus and Manson’s infamous compound Spahn Ranch, were accessed sans permission; Wolstencroft takes a co-writing credit with ‘The Cast’, mostly non-actors forging ahead with improvised dialogue (Gregoritis gamely unravels ‘forgitton’ back into ‘forgiven’ and ‘forgotten’ in one memorable fluff); on more than one occasion, shots are sourced through a dirty lens. But the rough edges, unstructured plotting and no-holds-barred staging Wolstencroft captures bristles with a beat poet/jazz musician energy that services his aesthetic genuinely.  

There’s no denying the film does occasionally run off the rails in spectacular fashion, most notably when a confluence of eccentrics meet up in a flouro-tinged LA living room. Along with the increasingly unhinged Gregoritis, Wolstencroft unleashes such anti-establishment giants as the late Kim Fowley (ex-manager of girl punk group The Runaways and infamous LA debaucher) and bombshell Giddle Partridge, reimagining 80’s alt-scene great (and Gregoritis’ real-life ex), Lydia Lunch; as the improv restraints crumble, Fowley starts ranting straight to camera as his scene partners try to be heard off-screen. Similarly abstract (but, it must be said, very beguiling) are the free-style lyrics of Brit pop bad-boy Pete Doherty, who oddly materialises late in the third act.

Wisdom dictates that a Volume 2 shouldn’t be necessary. Even at 85 minutes, a great deal of footage could have been excised, especially a lot of scenes of people walking. One understands Wolstencroft’s desire to honour Yeats with an epic modern dissection of the Irish wordsmith’s great poem, but a single film clocking in at two hours (and providing the barely-glimpsed Kristen Condon time to expand on her role) may have sufficed.

What Wolstencroft and his dedicated team have produced is a flawed but fascinating low-budget genre work with high-brow ambitions; a deconstructed reworking of vital existential themes that a great artist explored a century ago and whose words can clearly still inspire today.

READ the 2014 SCREEN-SPACE interview with Richard Wolstencroft here.
READ the 2013 SCREEN-SPACE interview with Michael Tierney here.
READ the 2015 SCREEN-SPACE interview with Kristen Condon here.

ARROWHEAD

Stars: Dan Mor, Aleisha Rose, Christopher Kirby and Mark Redpath; featuring the voice of Shaun Micallef.
Writer/director: Jesse O’Brien.

WINNER: Best Feature Film at 2015 SciFi Film Festival (Sydney, Australia).

Rating: 4.5/5

Driven by the DNA of a dozen sci-fi classics while pulsating with its own original life force, Arrowhead is both a love-letter to the adventurous space visions of yore and one giant leap into the genre’s future.

Australian writer-director Jesse O’Brien has crafted a thematically complex, occasionally confounding but never less than riveting character study, centred by the terrific Dan Mor’s compelling, bracingly physical lead performance. Should anyone be concerned that Arrowhead comes in the wake of 2015’s other castaway-on-a-desert-planet film, they can rest assured that O’Brien’s debut feature is immeasurably more cerebral, exciting and satisfying.

The narrative’s central conflict (adapted and expanded from O’Brien’s 2012 short) is a large-scale ideological feud between warring factions, although the obligatory interstitials detailing the future setting prove a bit of a MacGuffin; the director quickly focuses his lean, central story on a prisoner named Kye Cortland. The opening action sequence, depicting a bloody prison break, suggests that this particular dystopian future may not be unlike the brutal killing grounds of Brian Trenchard-Smith’s 1982 cult shocker Turkey Shoot (or, perhaps more precisely, the locally-shot international productions Salute of The Jugger and Escape from Absolom).

Maimed and unconscious, Kye awakens in the presence of enigmatic rebel leader Tobias Hatch (Mark Redpath), who promises safe passage for Kye’s imprisoned father if our hero flies one last op for the cause as pilot of the Arrowhead space craft. Cue one beautifully rendered dissolve from the launchpad to deep space and Kye is on-mission, until forced to crash-land on a remote, rocky landscape. O’Brien blasts through this first act with precise beats, making every frame count in his commitment to slick storytelling, mounting tension and human drama.

Marooned, Kye engages with the downed ship’s advanced operating system, known as REEF (the distinctive tones of popular local actor/comedian Shaun Micallef providing the vocal interface) and begins to recce the alien landscape. O’Brien is now in his element, disorienting his audience with ambiguous visual and aural cues that indicate the planet is not the lifeless rock it initially seemed. Kye instantly adapts to the atmosphere; time and space defy scientific notions; the presence of a potentially dangerous alpha life form becomes apparent.

Kye is joined by fellow displaced astronaut Tarren, played by the wonderful Aleisha Rose who shares a rich on-screen chemistry with her leading man (and sports a superbly retro figure-hugging flight-suit, straight off the covers of a 50’s comic book). Also materialising in one of the plot’s more ‘out-there’ moments is the mysteriously resurrected Norman Oleander (Christopher Kirby). But Kye shares the closest affinity with the symbiotic essence of his new home; as time becomes increasingly fractured, so to does Kye’s grip on his human state-of-mind and tissue integrity.

It is this gripping psychological component, combined with some lavish ‘Jekyll-&-Hyde’ moments of transformative change, that ensures Arrowhead transcends its genre trappings and emerges as something particularly enthralling. Mor’s physical manifestation of his twisted psyche represents truly great body acting; both the technical prowess and emotional insight he plumbs in conveying O’Brien’s superbly written script is great to watch.

All tech contributors, from the lensing and VFX contributions of Samuel Baulch to Stephanie D’Alessi’s art direction and Ryan Stevens’ production design, reflect innovation and vision of an international standard. Detractors might gripe that the influences are too prominent; Duncan Jones’ Moon is an obvious touchstone, as are, to varying degrees, the likes of Silent Running, Pitch Black, Starship Troopers, 2001 A Space Odyssey and Total Recall. But, just as those genre standard bearers found there own voice, Arrowhead grasps the tropes and reworks, re-energises and redefines them with a bold ambition and crackling originality.

JACKRABBIT

Stars: Josh Caras, Ian Christopher Noel, Joslyn Jensen and Reed Birney.
Writers: Destin Douglas and Carleton Ranney.
Director: Carleton Ranney.

Rating: 3.5/5

Had Carleton Ranney’s cyber-noir thriller Jackrabbit been shepherded through the studio mill, it may have emerged as a kind of dystopic-worldview version of Sneakers, Phil Alden Robinson’s 1992 crowdpleaser that the hacker community still bows before.

Instead, Ranney and co-writer Destin Douglas have honoured the non-conformist stance of their protagonists and delivered a dark, thoughtful take on small-scale insurgent destabilisation. The young Texan’s feature directing debut is more ‘headscratcher’ than ‘crowdpleaser’, but it will be the deliberately oblique narrative that the festival crowds should find most engaging. To his credit, he also keeps to a minimum those ‘typing’ and ‘staring at monitors’ moments that burden most tech-themed thrillers.

Ranney and his talented production design team envision the near future as City Sector VI, a metropolis overseen by the all-seeing VOPO Corporation. An event known only as ‘The Reset’ has made state-of-the-art computer tech redundant, the population reverting to 80’s era circuitry that offers a meagre upside while allowing VOPO to spy on the population via a CCTV network; drone networks and ‘men in black’ operatives enforce border checkpoints and night-time curfews.

From an opening sequence that recalls the sad death of real-world hacker-hero Aaron Schwartz, an angry-young-man tech-outlaw, Max (a compelling Ian Christopher Noel) and VOPO-bound, short-sleeves-&-tie type Simon (Josh Caras) are drawn together as mutual friends of the deceased. With Joslyn Jensen’s Grace providing some much needed feminine guile (and presence) in the second act, the mismatched pair uncover an encrypted hard drive left behind by their late friend that may have far reaching consequences for the very structure of the Orwellian society.

As the plot thickens, so to does Ranney’s tendency towards understated ambiguity and minimalism. There are moments in the unravelling of the mystery that seem arbitrary, yet the momentum never fully subsides. For some, 101 stealthy minutes may prove grating but there is no denying the filmmakers have adhered to a well-defined indie-film aesthetic that ultimately rewards. One of the key thematic strands is the value of information as currency; Ranney, too, utilises and honours the details in minutiae.

One of the great pleasures of Ranney’s world is the disorienting retro-vibe the setting exudes. In addition to the box monitors and dinner-plate circuit boards, the fashions tend towards skinny ties and sleeveless vests, harkening back to the decade in which computers and the nefarious networks they foot-soldier for was born (check out the pic’s fun website for further 80s influence). Also superbly of the period is the pulsating synth-score from MGMT’s Will Berman, borrowing freely from the musical stylings of genre giant John Carpenter.

Jackrabbit screens as part of the SciFi Film Festival in Sydney on October 31. Session and ticketing information can be found at the events website.

GIRL ASLEEP

Stars: Bethany Whitmore, Harrison Feldman, Imogen Archer, Eamon Farren, Matthew Whittet, Amber McMahon, Tilda Cobham-Hervey and Maiah Stewardson.
Writer: Matthew Whittet.
Director: Rosemary Myers.

Rating: 4.5/5

From Picnic at Hanging Rock and The Year My Voice Broke to Muriel’s Wedding and Somersault, Australian cinema has a prestigious tradition of vividly conveying that achingly beautiful, emotionally baffling divide between a young lady’s childhood and the mysteries of the adult world that lay before her. That legacy is strengthened further with director Rosemary Myers’ vibrant, fearless debut feature, Girl Asleep.

In fact, much about Myers’ adaptation of writer (and scene-stealing support player) Matthew Whittet’s play also shares its DNA with the best teen movie classics from beyond our shores. In addition to such influential charmers as John Hughes’ Sixteen Candles and Mark Waters’ Mean Girls, Girl Asleep could be cut from the same party-dress material as Katherine Dohan and Alanna Stewart’s 2012 non-pro no-budgeter What I Love About Concrete. Both share a giddy, free-for-all sensibility and delightfully idiosyncratic protagonists, who cope with the insanities of teen life by embracing the power of memory and imagination (similarities are purely coincidental, as both projects were long in development and the creative teams separated by half a planet).

The heart and soul of the just-quirky-enough narrative is nearly-15 year-old Greta, played with a meek but disarmingly charming innocence by the terrific Bethany Whitmore (Summer Coda, 2010; Mental, 2012). As she sits alone on a schoolyard bench, circa late 1970s, hilarious caricatures of high-school life swirl around her in a predominantly static long-take that announces Myers as a skilled craftsperson. Greta is befriended by fellow outsider Elliott, with boisterous ginge Harrison Feldman nailing that most crucial component of teen movie lore – the kooky bestie with a crush on our unknowing star.

Colouring Greta’s world various shades of awkward and embarrassed are saucy mum Janet (Amber McMahon), goofy dad Conrad (Whittet), big sister Genevieve (Imogen Archer) and her sexed-up boyfriend Adam (Eamon Farren). School is a nightmare, with queen-bee Jade (Maiah Stewardson) and her posse (twins Grace and Fiona Dawson) making Greta’s world hell. When Janet and Colin decide to make a big deal of Greta’s 15^th and throw an all-or-nothing party (featuring a crowd-pleasing splash of music and dance that indicates a larger canvas would suit Myers’ eye for staging), the teetering narrative strands collide and threaten to implode Greta’s fragile emotional state. Such beats sound Teen Pic 101, which is also the point, as bracing originality enlivens the tropes with compelling pacing and comically precise scenarios.

The pic finds its raison d’etre when the production takes a fantastical third-act detour into Greta’s dark and dangerous subconscious. Featuring an imposing Tilda Cobham-Hervey (52 Tuesdays, 2013) as a woodland warrior/guardian angel type, these sequences are purely dreamlike and serve to guide Greta towards a core strength that will serve her as her adult self begins to form. They are inspiring flights of fantasy, employed with a lightness of touch yet convey the weight of a young woman’s maturation. These sequences alone will ensure Greta and her existential adventures should become not only a hot film festival item in the months ahead but also (and, perhaps, more importantly) a slumber-party staple for years to come.

As the Artistic Director of Adelaide’s Windmill Theatre Company, Rosemary Myers oversaw the initial stage production of Girl Asleep and her affinity towards and profound understanding of the material is evident. Wildly funny and deeply moving in equal measure, it is a work rich in larrikin character but universal in its themes and appeal. As Greta embraces her blossoming self, so to does Australian cinema welcome another memorable movie heroine.