Doc Corner: 'In My Blood It Runs'

By Glenn Dunks

It can be so good to see a filmmaker take a significant leap in their talents. Such a thrilling moment to realize that a director isn’t just capable of making good films, but great ones. I must say, I didn’t expect a film like In My Blood It Runs from Maya Newell. The Japanese-Australian filmmaker had previously made the cutely affecting Gayby Baby about the children of same-sex parents (Newell herself is a ‘gayby baby’), but nothing there would suggest a film of such cultural specificity as this.

It’s the sort of film that makes me so glad I watch Australian cinema more regularly than most (including my fellow nationals). I feel like I can easily say it’s one of the best documentaries this country has produced in recent years. A work of emphatic poignancy that speaks so much to this country’s institutionalized racism and its assimilationist ideals to the societal and cultural issues facing Australia’s indigenous populations.

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"Elvis" gets back to work

by Ben Miller

Elvis and his manager Colonel Parker in 1958

Though the coronavirus is still raging in the US, the rest of the world is starting to get back to normal, and that means the restarting of international film productions.  One of the most noteworthy of those productions,  restarting in Australia, is Baz Luhrmann’s (as of yet untitled) Elvis Presley film, starring Once Upon a Time…in Hollywood’s Austin Butler as the King of Rock and the world’s most famous COVID patient, Tom Hanks as Colonel Tom Parker.

The project itself is relatively unknown, but we do know Luhrmann, so don't expect the typical biopic treatment...

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New to Streaming: The Australian New Wave on Criterion

By Glenn Dunks

The Criterion Channel recently added a whole bunch of Australian movies from well-known directors like Peter Weir, Gillian Armstrong and Phillip Noyce onto their service. While some titles from the “Australian New Wave” series were (I think?) already on there, there are many that are not only new to the service but new to American streaming full stop.

The series features 21 titles that range from 1971 to 1982, several of which are stone cold masterpieces. In a funny little merging of cinematic timelines, a few of these movies have more historically been ignored by the prestigious banner of the new wave era as their genre elements meant they often get lumped less nobly into the “Ozploitation” sidebar of exploitation, sex comedies and horror movies. Whatever it took, however, I’m happy to see some of my favourites find a streaming home internationally.

Now if only Criterion would add more of them to the damned collection!

I thought it would be fun to list the titles—because who doesn’t love a list?—but base it not on their quality. Rather, how much they speak to Australia, the country, the people, and its identity both then and now as we look at them nearly 40 years removed. Subjective, of course, and it's been many years between viewings of many of these, but I feel if you want an education on Australia, then there are some films here that would do a better job than others...

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Aussie Cinema Spotlight: 'Relic' and 'Babyteeth'

By Glenn Dunks

Did you see Letterboxd’s highest-rated film list for the first half of 2020? The film database site used by cinephile types to log and rate everything they see noted that this time last year the comparative 2019 list was topped by Avengers: End Game, none other than the highest-grossing movie of all time. This year’s top title on a newly lockdown affected list? Kleber Mendonça Filho and Juliano Dornelles’ Bacurau! Quite a change of pace to intergalactic superheroes, you have to admit. And followed by titles like And Then We Danced, Corpus Christi, First Cow and Vitalina Varela? As the kids say, you love to see it.

As audiences cannot rely on a regular stream of American content to plug into their necessary expanded viewing schedules, it is encouraging to consider that some people’s eyes may have been newly opened. I thought of this when watching two new Australian releases: Natalie Erika James’ haunting generational horror Relic, and Shannon Murphy’s perversely entertaining cancer drama Babyteeth...

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Still more prizes...

Why were critics so uncritical of Toy Story 4's retreading?

Yes, people are still giving out prizes. We don’t say this facetiously since we haven’t even given out ours yet (still cramming in screenings!) but both the Team Experience Awards (voted on by our whole team sans me -- they don’t let me vote!) and the Film Bitch Awards (yours truly's own long-running prizes) are coming in the next week or two. But until the guild awards start en masse this week (whilst Academy members vote on the Oscar nominations) here are the five latest industry or critics groups to announce. We only wish that there were more variety since Parasite, Bong Joon Ho, Adam Driver, Brad Pitt, Apollo 11, and Toy Story 4 continually to dominate their categories with stampede like force. The only category where the groups disagreed en masse (this week at least) was Best Actress; Ronan, Nyong'o, Zellweger, and Johansson all picked up another prize. And Best Supporting Actress was dominated by Florence Pugh in this week's roundup which is a bit different than earlier in the critics awards season where it was always Dern vs Lopez. 

The latest prizes after the jump...

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