‘Mountain’

mountainA gloriously immersive and poetic documentary, director Jennifer Peedom (Sherpa, Miracle on Everest) takes us on a journey through our fascination in the stunning majesty that is the world’s highest peaks.

With a beautifully modulated commentary from Willem Defoe, spectacular cinematography from Renan Ozturk (Sherpa, Valley Uprising) and a truly soaring soundtrack from Richard Tognetti and the Australian Chamber Orchestra, Mountain literally leaves you gasping for air – whether it be at the clouds rolling into the Himalayan valleys, the intense close ups of rock climbers on sheer rock faces in Monument Valley or mountain bikers travelling hell for leather on narrow paths high in the Austrian Alps.

It’s simultaneously cerebral and emotive in the extreme – and Vivaldi’s Four Seasons and Beethoven’s Piano Concerto No 5 in E Flat Major have never sounded or ‘looked’ better.

Rating: 71%

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‘Namatjira Project’

00001-002A meandering, unfocused documentary, the Namatjira Project explores the legacy of one of the earliest successful Australian aboriginal painters, Albert Namatjira. The first indigenous Australian to be granted citizenship back in the 50s, his extended family has battled to reclaim their heritage since his death in 1959.

The problem for Sera Davies’ film is its failure to determine its main subject. Is it Namatjira himself? His family? The battle to regain copyright? Or is it simply following the theatre production that is Albert’s life (a superb performance by Trevor Jamieson – Rabbit Proof Fence, Bran Nue Dae)? The result is a frustrating mishmash of unresolved questions.

Rating: 53%

‘Ali’s Wedding’

19983521_1884953185091404_3701407671146097916_oVoted as The Age newspaper’s best Australian film at the recent Melbourne International Film Festival, Ali’s Wedding is a dire rom-com that, based on true events, mistakenly plays everything for laughs.

The son of a popular cleric at the local mosque, Ali (Osamah Sami, writer of the film) lies his way through his exam results, inflating his score to the point he needs to study medicine at the prestigious University of Melbourne. A non-enrolled attendee at lectures, he falls in love with the Australian-Lebanese Dianne (Helana Siwares – Banana Boy), even though he, as an Iraqi, is due to marry to Yomna. How is he going to get out of this?

Squirm inducing humour that encourages laughter at points of difference, lack of character development that results in seeming stupidity (Ali’s mother in particular) and the occasional comedic moments that are poorly or overly developed in an (ill-conceived) attempt to maximise the humour: Ali’s Wedding is very disappointing.

Rating: 36%

‘A Man of Integrity’

dregs_poster_goldposter_com_1.jpg@0o_0l_800w_80qAn honest yet downtrodden fish farmer (a quiet, nuanced performance by Reza Akhlaghirad in his film debut) fights corruption and injustice in rural Iran.

A Man of Integrity is a scathing critique of contemporary Iran (“you’re either oppressed or the oppressor”) as Reza looks for his family’s survival in the face of corporate expansion and control. Director Mohammad Rasoulof (Manuscripts Don’t Burn, Goodbye) teases out stoically naturalistic performances and a surprising tension from an age-old David and Goliath storyline.

Screened in the Melbourne International Film Festival.

Rating: 76%

‘Ellipsis’

ellipsisA Sydney-shot dramatic rom-com, with Emily Barclay (The Light Between Oceans, In My Father’s Den) finding herself without a phone after colliding with Benedict Samuel (The Walk, The Stanford Prison Experiment). A night of adventure unfolds before she must return to her fiance in London.

Like the unfolding night, Ellipsis is something of a meandering narrative as the two find themselves in various locations around Sydney. It’s pleasant enough – and debut director David Wenham pays homage to the city itself. But the real drama and human interest lies with the phone repairman (Ferdinand Hoang – Mao’s Last Dancer, The Quiet American) and his family.

Screened in the Melbourne International Film Festival.

Rating: 42%

‘The Road to Mandalay’

MV5BZGFiZjI5ZjAtNWZhMy00ZTQzLWIyNDUtMjM3MmU1MTM2MjE5XkEyXkFqcGdeQXVyMzY3MTQ1NTY@._V1_UX182_CR0,0,182,268_AL_A quiet, understated reflection on Burmese immigrants illegally working in Thailand as Lianqing (Ke-Xi Wu – Poor Folk, Ice Poison) escapes her impoverished rural home life. Sending money home and obtaining a work permit in any way possible is her focus, even at the cost of her relationship with Guo (Kai Ko – You Are the Apple of My Eye, When a Wolf Falls in Love with a Sheep).

Both are in search of a better life, but their contradictory personalities inevitably lead to conflict. Director Midi Z (Poor Folk, Ice Poison), a rising star of Asian cinema, focuses on the everyday events and hardships faced by the pair – making its denouement in the final seconds even more unexpected and shocking.

Screened in the Melbourne International Film Festival.

Rating: 69%

‘Don’t Tell’

Don't Tell Movie Poster 1Don’t Tell is based on the true story of the court case of Lyndal who, as an 11 year-old, was sexually abused by a teacher at a prestigious Queensland school. The outcome resulted in the change in laws in the way civil cases are tried.

Now a surly, rebellious 22 year old, Lyndal (an empathic Sara West – The Daughter, One-Eyed Girl) sues the Anglican church in 2001 for damages. Lawyer Stephen Roche (Aden Young – Killer Elite, Mao’s Last Dancer) and barrister Jack Thompson (Breaker Morant, Australia) support her through her court hearing.

Director Tori Garrett makes his feature film debut in this well told, authentic courtroom drama, focusing on the story rather than any cinematic gymnastics.

Rating: 62%

‘Berlin Syndrome’

5qBg9GxoCA8qu48iWp1obK5pBHsA sinister story of obsession, Australian director Cate Shortland’s (Somersault, Lore) latest is a tense thriller where backpacker Clare’s (Teresa Palmer – Hackshaw Ridge, Warm Bodies) one night stand sees her locked in the Berlin apartment of school teacher Andi (Max Riemelt – Free Fall, Before the Fall).

But Berlin Syndrome is no schlock bad guy/good guy shocker. Shortland’s skill, in building tension, is to create an element of sympathy for both characters. Andi’s grief at the death of his father is genuine, as is the continued terror felt by Clare as her imprisonment extends by weeks.

Shortland oozes confidence in (sadly) only her third feature film in 12 years in this stylish thriller/drama.

Rating: 66% 

‘The Salesman’

SalesmanThe best film in a foreign language Oscar winner, The Salesman is a confident, assured piece of cinema.

Surprisingly low key and minimal, to label it a revenge thriller would be doing Asghar Fahardi (A Separation, The Past) a disservice. Yet Shahab Hosseini (A Separation, About Elly) is determined to discover the identity of the man who assaulted his wife (a superbly resigned Taraneh Alidoosti – Modest Reception, About Elly) in their own home.

As with the magnificent A Separation, Fahardi builds the tension (without overly altering the pace) primarily through words, leaving you somewhat breathless as the narrative builds towards its compelling finale.

Rating: 81%

‘Jasper Jones’

mmt966-flatpackPublished in 2010, Jasper Jones the novel has established itself as one of the most loved of all local novels – an Australian Southern Gothic where the heat is real, the cicadas loud as the tension builds in the (fictional) West Australian town of Corrigan.

It’s a coming-of-age melodrama and something of a thriller mystery, touching upon the racism and narrow-mindedness of 1960s Australia.  The townsfolk are on high alert with the disappearance of schoolgirl Laura. But both indigenous teenager Jasper Jones and his confidant, Charlie, know where she is and think they know  what has happened to her.

Sadly, whereas the novel masterfully tells its tale and introduces a wonderful array  of characters, director Rachel Perkins (Bran Nue Dae, Radiance) has chosen to race through its telling. The result is a superficial hotchpotch of barely related scenes and events. Young actors Aaron L McGrath (Around the Block) as the barely seen Jasper and Levi Miller (Pan, Red Dog: True Blue) try hard but ultimately they, along with a stellar Australian cast including Hugo Weaving, Toni Collette and Dan Wylie, are wasted.

Rating: 51%