Melbourne International Film Festival

MIFF 2013: A World Not Ours (2012) 0
by / on August 5, 2013 at 8:47 pm / in Festivals, Film, Foreign, Melbourne International Film Festival

MIFF 2013: A World Not Ours (2012)

A World Not Ours gives us a unique look at a corner of the world we would be unlikely to encounter otherwise, adding a jazzy score and humour throughout to perk up an otherwise grim subject. Informative and grounding, this film shows us how frequently we take identity for granted.

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MIFF 2013: First Cousin Once Removed (2012) 0
by / on August 5, 2013 at 8:46 pm / in Festivals, Film, Foreign, Melbourne International Film Festival

MIFF 2013: First Cousin Once Removed (2012)

One can deduce First Cousin Once Removed is deliberately disjointed and fragmented, much like Honig’s thoughts and feelings. Through photos and old letters as well as interviews with family and friends, Berliner shows us, and Honig, the man he used to be.

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MIFF 2013: Patrick (2013) 0
by / on July 30, 2013 at 10:39 pm / in Australian Cinema, Festivals, Film, Melbourne International Film Festival

MIFF 2013: Patrick (2013)

A remake of Richard Franklin’s seminal ozploitation favourite, Patrick is a visually assured fictional feature debut for director Mark Hartley, who previously examined the ozploitation subgenre with his exceptional documentary, Not Quite Hollywood.

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MIFF 2013: The Last Time I Saw Macao (2013) 0
by / on July 30, 2013 at 10:34 pm / in Festivals, Film, Foreign, Melbourne International Film Festival

MIFF 2013: The Last Time I Saw Macao (2013)

As it is, Last Time might bore some people, but for those willing to invest some time, this is an at times intriguing look into the unique world of Macao.

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MIFF 2013: The Day of The Crows (2012) 0
by / on July 30, 2013 at 10:11 pm / in Festivals, Film, Foreign, Melbourne International Film Festival

MIFF 2013: The Day of The Crows (2012)

At a time when animation has become increasingly digitised, franchised and gimmicky, it’s a relief to find the old-fashioned techniques still being used. While they certainly aren’t as time-efficient, the clear and original marks of artistry are there for all to recognise as opposed to the smooth artificial sheen we’ve become used to.

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MIFF 2013: Coming Forth By Day (2012) 0
by / on July 30, 2013 at 9:16 pm / in Festivals, Film, Foreign, Melbourne International Film Festival

MIFF 2013: Coming Forth By Day (2012)

Coming Forth By Day is 24 hours in the life of Suad (Donia Maher) and her mother (Salma Al-Najjar). Suad spends almost all of her time within her house taking care of her sick father (Ahmed Lutfi), alternating duties while her mother does nursing shifts at the local hospital. Egyptian filmmaker Hala Lotfy’s first feature length film deals heavily with themes of duty, […]

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MIFF 2013: Outrage Beyond (2012) 1
by / on July 28, 2013 at 10:43 pm / in Festivals, Foreign, Melbourne International Film Festival

MIFF 2013: Outrage Beyond (2012)

The main flaw is that the film simply doesn’t bring anything really new to the proceedings, but fans of Kitano and his previous gangster films will no doubt find a lot to like here regardless.

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MIFF 2013: Closed Curtain (2013) 0
by / on July 28, 2013 at 10:40 pm / in Festivals, Film, Foreign, Melbourne International Film Festival

MIFF 2013: Closed Curtain (2013)

Following the documentary This Is Not A Film, Closed Curtain marks director Jafar Panahi’s second movie (co-directed by Kambuzia Partovi) since a six year home imprisonment sentence and twenty year ban on film making was imposed on him by the Iranian government.

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MIFF 2013: A Hijacking (2012) 0
by / on July 28, 2013 at 10:19 pm / in Festivals, Film, Foreign, Melbourne International Film Festival

MIFF 2013: A Hijacking (2012)

Despite a slow start, this slow grinding thriller thrives on a claustrophobic atmosphere, becoming tenser with each minute and building to a gripping finale.

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Film Review: Holy Motors (2012) 1
by / on August 21, 2012 at 8:59 am / in Festivals, Film, Melbourne International Film Festival

Film Review: Holy Motors (2012)

It’s rare for a film to come along which is so unique, and downright bizarre, that it completely defies any attempt at categorisation, and reminds you that the possibility for innovation in cinema is nowhere close to being exhausted.

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