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In 2009 I wrote an article examining the suffering of Polanski, the acclaimed filmmaker who was wanted on a rape charge he'd pled guilty to 30 years ago. I soon discovered how cruel an online lynch mob can be. Some commentators wished rape upon me, so that I might know how bad it was. The truth is I was already 'in the club'.
Catherine Deveney was right to point out that power, not homosexuality, was at issue in the case of Cardinal O'Brien, who resigned amid accusations of sexual misconduct. A new film by American director Steven Soderbergh also reflects on relationships based in power, and the ethical obligation of the party with the greater power not to act against the interests of the other.
After cataloguing the ways in which the film belittles and marginalises the experiences of black slaves, Williams laments the fact that such marginalisation continues to exist seemingly unnoticed in mainstream popular culture. The Oscar awarded to Django Unchained is the epitome of popular culture 'not noticing'.
There are moments that highlight the misery of Anne's condition, the slights rendered against her dignity. She awakens in a puddle of brown urine; labours excruciatingly over every syllable she speaks, but is misunderstood; howls in pain as she is showered. Her husband can do little but tend dutifully to her needs. Is it enough?
Health and beauty executive Amy suffers a breakdown at her company's corporate offices. Flash forward, and she has just returned from a stint at a new-age treatment clinic. Enlightened parodies the self-centred philosophies of the cult of self-help and reveals how they can turn a person like Amy into a monster.
David Marr's withering piece on Tony Abbot completes the political trinity. These writers manage the impossible: they have me feeling sorry for politicians. Well, almost. I'm not sure if such magnanimity is allowed in an election year. But what a pleasure to discover those grey Canberran corridors harbouring such a chiaroscuro of emotion.
Lincoln's quest to end slavery is a centrally moral endeavor requiring political maneuvering and even underhandedness to achieve. Whereas Spielberg's Lincoln hums with quiet patriotic fervour, Django Unchained is pure irreverence and a vicious 'up yours' to the idiocy of white supremacy.
The tagline 'history's greatest manhunt for the world's most dangerous man' is ironic. By the time of bin Laden's execution his dangerousness was arguably largely emblematic. Zero Dark Thirty portrays the manhunt as a quest for revenge, and leaves open to question whether America was enhanced or diminished by exacting its vengeance.
Despite moments of crass humour, This Is 40 is centrally moral, even conservative in its elevation of 'heteronormative' family unity. It stands as a nuanced riposte to the simplistic assessment made by one character that Debbie and Pete 'aren't right for each other'. Marriages are complex, and even troubled ones may not be easily dismissed.
Life of Pi offers two stories. Both concern a boy who survives a shipwreck and spends months adrift in a lifeboat. One is constructed from mundane albeit horrific facts; the other, from visual and mystical wonders, scenes of terror and transcendence that seek no less than to better understand God. Which do you prefer?
One man suffers the shame of sex addiction. For another, a quadriplegic, sex is a matter of dignity. Two couples meet for a civilised discussion about their children's behaviour, but civility collapses. An antihero embraces violence as a solution to exploitative American media. Eureka Street counts down its essential films of 2012.
Valjean betrays a priest who has been kind to him, and the persistence of that man's mercy despite this betrayal sets the tone for Valjean's journey. The compassion and generosity to which he aspires contrasts with the Old Testament sternness of Javert, who is both driven and tortured by a dedication to divinely ordered justice.