Viewing posts written by: Screen Machine Staff
Conall Cash sheds light on Wiseman’s 1974 doco on animal research, Alifeleti Brown reviews a transvestite drama and Jessie Scott is unimpressed by the second programme of Cities on Speed.
Conall Cash reviews Korean auteur Hong Sang-soo’s latest, Alifeleti Brown sees a border conflict drama, Samantha Chater writes on the latest mumblecore film from Andrew Bujalski and Eloise Ross compares 2 parts from the Cities on Speed program.
Alifeleti Brown encounters a quiet Korean film about mortality and poetry and Samantha Chater reviews a doco on the underground New York film scene of the late 1970s and early 80s.
Guest contributor Adrian Martin writes about the “terrorist family melodrama” The Day Will Come, Yoshua Wakeham reviews a doco on an eccentric Japanese inventor and Alifeleti Brown reflects on Godard’s latest.
Samantha Chater on Francis Ford Coppola’s latest, Peter Jacobsen on Romero’s most recent zombie film, and Jessie Scott on docos concerning the architect Norman Foster and environmental devestation in Western Canada.
Yoshua Wakeham reviews Sylvain Chomet’s animated homage to Jacques Tati, Lauren Jayne Bliss reviews the sci-fi horror of Splice and Brad Nguyen reviews the sex-doll-come-to-life fable Air Doll from Hirokazu Koreeda.
This year’s rapidly approaching (i.e., by the time you read this, IT WILL HAVE ALREADY STARTED!!) Melbourne International Film Festival is important to Screen Machine for all sorts of reasons. In a mediocre year for that puzzling entity called commercial cinema, we are more excited than ever to encounter new works by some of the old masters (Jean-Luc Godard’s Film Socialisme, Manoel de Oliveira’s Strange Case of Angelica, Jacques Rivette’s Around a Small Mountain, Abbas Kiarostami’s Certified Copy, George Romero’s Survival of the Dead, Francis Ford Coppola’s Tetro, Frederick Wiseman’s La Danse), important new films from major young directors (Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall his Past Lives, Harmony Korine’s Trash Humpers, Hong Sangsoo’s Ha Ha Ha, Andrew Bujalski’s Beeswax, Gaspar Noé’s Enter the Void, Hirokazu Koreeda’s Air Doll), intriguing films that we know next to nothing about (Samantha Morton’s The Unloved, Debra Granik’s Winter’s Bone, Pang Ho-cheung’s Love in a Puff, Michael Rowe’s Leap Year) and older films that have been revived, resuscitated, brought back to us at the time we need them most (R.W. Fassbinder’s World on a Wire, Wiseman’s Primate, Robert Bresson’s Au Hasard Balthazar, Kim Ki-young’s The Housemaid).
Happy new year! Hope you spent a merry Kwanzaa eggnogging yourself into oblivion. 2010 marks Screen Machine’s second year in operation and what better way for a website to celebrate such an occasion than with a list! Here are the Top 20 Films of 2009 as chosen by the Screen Machine staff. Chosen from films that were released in Melbourne cinemas in 2009 or were given a festival screening here, we’ve tried to create a list that is more intriguing…
