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Bye Bye Sally (2009)
Absolutely Nailed It
Bye Bye Sally is a refreshing, quirky almost darkly comedic short film which is both acted and shot interestingly and brilliantly.
From the very onset until the grizzly end, you are sucked in to follow the journey of our protagonist, the seriously depressed and disheveled 'crazy cat lady.' The role is played seamlessly by the (typically) beautiful Malin Akerman, and is supported well by a number of very well-cast and competent actors.
The storyline is refreshing and gripping, the characters unique, and the shots beautiful. It's dark, it's bold, it's hilarious. It's brilliant. 10/10.
Samson & Delilah (2009)
Fuelled for Success
Why, does it seem, that every film we are exposed to about the Australian indigenous community is heartbreaking, depressing and demoralising? Why does the Caucasian Australian always end up with a sense of self-loathing as the final credits roll down? The answer is simple. Because (in most cases) these bleak and cheerless films accurately mirror the lives and hardships these communities face daily. Warwick Thornton's hand written, directed and filmed 'Samson and Delilah' is no exception to this rule.
The film follows our leading roles through an unfathomable period in their lives. The two teenagers live in a very rural, indigenous, central Australian community. Among the dusty plains and corrugated iron, uncommunicative Samson finds little entertainment in his environment. A mature Delilah spends much of her time caring for her unwell grandmother and helping her create traditional works of art. When Delilah's grandmother passes, she is blamed for the death and severely beaten. Samson, too is victim of domestic violence and the two flee for a better life. This, of course, is not the case.
The opening sequence is the first time we are exposed to Samson sniffing petrol. Just woken up in rustic accommodation, we see him reach for the plastic bottle, deeply inhaling the chemicals under the shelter of his blanket. It is strongly insinuated that this behaviour is far from outlandish in that environmental context. In terms of content of the film, everything you would expect is present. The abuse of petrol is consistent throughout the film, and we are as saddened as we are horrified to watch its use spread from one person to another. More violence as well is a given, and themes of homelessness, racism and deprivation are certainly not uncommon.
Inarguably it's not the feel good movie of the year. Nor is it a personal 'rise and fall' story as at no point is any member of the community painted in a position of power or hope. More accurately, it could be described as an 'out of the fry-pan, into the fire' struggle, Samson and Delilah fleeing hopelessly from their troubles at home to be faced with much more brutal truths about the world as a whole.
Every horrifying event that takes place is amplified by how unpretentiously it is put forward. There are no 'Hollywood-esque' sugar coatings, overacting or long-winded musical montages. Incidents of abuse are depicted in the film as routine as any other menial activity. For example, as much time is spent focusing on Delilah being brutally beaten as on Samson simply digging a hole and lying in the cool earth. What is astounding is that the suspense is drawn out so intelligently, that each scene is as successful, interesting and meaningful to watch as the other.
The shock elements of the film have so much to offer in terms of getting to understand the characters and their relative situations, however it is the sheer feeling of isolation, which is what shakes the audience's senses.
Thornton has used that barren isolation almost thematically and has massaged that feeling into every technical aspect of the film. The entirety of the story is painfully silent. Societal misfits and protagonists Samson and Delilah communicate wholly through body language and expression. It's hard to say whether this adds something to the film, or rather neglects to detract from it, however either way the emotional and metaphoric value of each scene is tremendously heightened, and some serious depth is created between the two.
Music is used sparsely, as the silence is so effective in creating such a harsh, raw beauty. A single monotonous tune is played recurringly for a good portion of the film, bringing attention to the unbearably repetitive tedious nature of the lives this community leads. Delilah throughout the film plays a cassette in the car, assumed to be the communities only source of enjoying pre-recorded music. Each night she pushes play, shuts her eyes, and lets the slow classical music surround and comfort her. We as an audience conclude that this music is her personal escape. When the car breaks down, however, and the two are forced to abandon it, Delilah is stripped of this comfort and the beautiful melodies are shortly after replaced with petrol fumes, which she uses as a substitute.
Any audience, both Australian and international will be able to appreciate the harsh but unique beauty of the central Australian desert. The dry, barren plains, the gnarled, contorted trees, the rich red soil and infinite dust. Elements such as these aptly compliment the mood of the film, demonstrating eloquently the beauty in suffering. The aesthetics of the film highlight an unexpected silver lining. Samson and Delilah never strike gold, move to the city and live like kings. In fact there is little to suggest that they won't face troubles in the future. Without a spoken word, what is established is their commitment to each other, their love and camaraderie, which is the foundation of their will to keep moving forward.
It was never Thornton's intention to create a film to make your heart sing and fill you with hope and inspiration. Nor did he want to depress his audience or create a tearjerker of a film for critical acclaim. The appeal of this movie lies in its honesty, however brutal. Ever complemented by its raw aesthetics and scarce audio, it reflects reality to an almost eerie degree. It doesn't demand your attention, rather it earns it, through patience and diligence, humility and raw Australian skill.
Whip It (2009)
Let Down
I am a big fan of Ellen Page, Drew Barrymore and Alia Shawkat. Naturally I had high hopes that this would be a unique, quirky, indie and generally good movie. What a let down!
Here are the stupid things about this movie:
* endless spirals of clichés including conservative "50's housewife", reconciling food fight, indie boy-crush in band, beauty pageant queen turned roller derby star and mother turning up to championship against all odds (not) * nerdy twig of a girl asked to join a roller-derby team * G rated underage, underwater sex scene SANS condom
NOT compelling!! no no no