Sick to the Vitals 4. This later film is a romance, a doomed moment, with music by John Cale, and it is brilliant. Wolfgang Schivelbusch, The Railway Journey: My Life Without Steve Surreal, bizarre, hilarious, Eden needs to be acknowledged.
Return Home Ray Argall,89 mins A magic narrative feature film for Australian cinema at the time, and eventually this film will be rediscovered and recognised. In segment two, the glowing light from the windows in the background highlight her dislocation.
It is apparent through the musical and visual nature of the film, that each character is given individual prominence. These are the two figures at the epicentre, as it were, of the shock, and each of them is figured in the film as literally beyond language — neither speaks until the climactic scene in the pouring rain when the train driver comes to offer his apology to Julia.
She goes through shock, numbness, isolation then finally healing. This film was almost censored, but it is playful and beautiful. Just as the Arnow Hill disaster is packaged as a nightly item of entertainment feeding upon and reinforcing public anxieties and voyeuristic fantasies, the goods-train death is from the beginning enmeshed in a web of mediated messages.
Brickwall Paul Winkler,22 mins An Australian masterpiece of experimental cinema, we see bricks, bricks and more bricks.
The Politics of Memory London: Perplexed by the meaning of her own life, she visualises herself drowning in mediocrity.
The Refracting Glasses David Perry,mins From the time in Australan screen history where these type of essay films feature length were being funded by the AFC. She is fatalistic almost nihilistic, imagining disaster at every turn.
The two central romantic protagonists meet at the site of the accident: Road to Nhill In the first scene, dressed in black, assuming the rebellious counter-culture pose of a Goth the son seems to share a problematic relationship with his father.
I remember feeling slightly nervous about meeting old pros like Jemima and Big Ted, but they were very warm and welcoming and just the same as they are on the show. As we have seen above, Look Both Ways employs a matrix of elisions, mediations and fantasies by which the various traumatic events both work upon the characters and are worked over by them.
The first accident is the local tragedy that functions as the nexus connecting the major characters in the narrative; indeed, it is the original moment of the narrative. The printing presses swing into action and a highly personal moment of grief becomes a mass-produced, distributed and consumed image calibrated to sell newspapers.
Her traumatic fantasies are mediated by the artform she employs professionally and as personal expression.
The generally explicit voyeuristic nature of this film, allows the viewer to seek insight into the multitude of negative and positive human experiences. A painter, she makes a living by producing watercolour images of seascapes for mass reproduction on sympathy cards designed to comfort the bereaved.
He evolves as a character, altering his appearance and attitude.Look Both Ways is a Australian independent film, written and directed by Sarah Watt, starring an ensemble cast, which was released on 18 August The film was supported by the Adelaide Film Festival Investment Fund and.
Sarah Watts’ film Look Both Ways was, at the time of its release inheralded as a sign of recovery for Australian cinema after several traumatic years of critical gloom and box-office flops. Critic Rob Lowing wrote in the Sun-Herald: “Look Both Ways is a great reminder that there is.
Apr 27, · A look back at my Telluride Film Festival Journal from August 28th to September 1st, It doesn't really matter if you look both ways. The piano may be falling from the sky. If we gave much thought to the possibility that we could die at any moment, we could hardly endure life/5.
Look Both Ways received the Australian Film Institute Award for Best Film. As executive producer, Ikin's credits include Rolf de Heer's The Tracker () and Paul Goldman's Australian Rules () which were commissioned for the Adelaide Festival of the Arts. Jul 17, · “Look Both Ways” exposes subjective life experiences through a range of innovative filmic devices.
The film unearths intrinsic human vulnerabilities and delves into the hidden mystiques of the human psyche through the artistic utilisation of cinematography and film techniques. Look Both Ways is a Australian independent film, written and directed by Sarah Watt, starring an ensemble cast, which was released on 18 August The film was supported by the Adelaide Film Festival Investment Fund and Music by: Amanda Brown, Ashley Klose.Download