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Those who expect a portrait of a monster will be disappointed. Stone's Bush is not exactly sympathetic. But he is human. He is even likeable.
Idiopathic hyperhydrosis is an unpleasant affliction, and discussion of such does not constitute polite conversation. Kym's affliction is more debilitating: she's an addict, home from rehab to help celebrate her sister's nuptials.
On the slimmest of pretexts, fuelled by her own dubious and malicious instincts, Sister Aloysius launches a vendetta against Father Flynn. Doubt deals with the subject of clergy child abuse, though not in the way you might expect.
Having grown up an orphan in a Mumbai slum, Jamal is an unlikely candidate for Who Wants To Be A Millionaire. A sense of the divine pervades the film, but while Jamal seems destined for good fortune, his brother Salim diverges towards corruption.
Brian De Palma's Redacted took as its grim inspiration the true account of the rape and murder of a 15-year-old Iraqi girl, and the murder of her family, by a wayward group of US troops in 2006. It plays pretty fast and loose with the facts.
The Edmund Rice Centre's Phil Glendenning is is the ordinary gruff Australian bloke abroad - a Merv Hughes or an Ian Chappell, not naturally articulate but enduring and not to be fobbed off with smooth talk. His silent listening is the moral centre of this powerful SBS TV documentary about returned asylum seekers.
In 1974 French acrobat Philippe Petit balanced mortality and destiny on a wire between New York City's Twin Towers. This documentary imbues Petit's dizzying, existential quest with the dramatic tension of a bank heist.
Those of us not of Aboriginal ancestry can be tempted to see our origins in foreign lands. Although we may not share the identity of First Australians, we owe the benefits of our lives to the land that was, and continues to be, theirs.
When I heard John McCain had chosen 'Palin' as his running mate, I thought, wow, Michael Palin! Palin understands women (he's worn his share of dresses), animal rights (especially dead parrots), and commerce (particularly the cheese industry).
In 1932, Todd Browning's Freaks sought to unsettle with the 'otherness' of its circus sideshow performer characters. A modern-day festival of films by and about people with disability emhasises not otherness, but humanity.
During the 1970s, Australian cinema experienced what many now regard as its golden age. Who were the maverick filmmakers gleefully scuffing up the flipside of that glittering coin, and why does Phillip Adams despise them so?
One was shot on location in Pakistan by an amateur Sydney filmmaker. The other is a cartoon made by an Iranian expatriate about life in Tehran. What do such different films have to tell us about humanity in the Middle East?