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Riggan's ego is immense. The action takes place backstage during the days leading up to the premier of his latest vanity project, and onstage during a series of previews. Riggan is out of his depth, prone to humiliating blunders, including one that results in a near-naked dash through the crowds of Times Square. But his resolve to affirm his greatness in the eyes of a media and public that has dismissed him is maniacal.
During an end-of-season trip to Bangkok, impressionable country footy dork Ray is badgered by one of his teammates into turning drug mule. He is picked up in Melbourne, where a couple of nasty cops detain him under supervision for seven days, waiting for him to pass the heroin-filled balloons he ingested. Ray is beset on all sides by systemic corruption, which makes his refusal to poo — fuelled not by greed but by a kind of everyman nobility — seem truly heroic.
New Zealand filmmaker Robertson’s latest feature has been described as a cross between modern antipodean classics Once Were Warriors and Shine. Like Warriors, Dark Horse considers masculinity, violence and spirituality in the lives of urban Maoris. Like Shine, it offers a moving portrait of a character whose mental illness appears to be the dark reflection of esoteric, obsessive genius.
In the few times I have felt distressed by the prospect of some kind of eternal singledom, I have reminded myself of how difficult and suffocating romantic love can be, especially in the belittling shadow of celebrity couplings. My accumulated life data tells me that no-one is a perfect partner, even with 'hard work', and there are many more things to love than some perfect other individual.
In Deepsea Challenge, James Cameron admits that, having desired it since he was a kid, his film Titanic was basically the excuse he needed to explore the depths of the ocean. The documentary feels like Cameron meets 'Make A Wish Foundation' with the audience acting as the benevolent donors.
Given last week's unequivocal iteration of the dire state of Australian politics, perhaps we've earned the right to a bit of escapism. The Secret Life of Walter Mitty proves adept at turning the warm-and-fuzzies up to 11. Still there's no escaping the sense that Walter's ability to jet around the world in order to find himself is implicitly an expression of affluent, white male privilege.
Closeted gay lawyer Paul operates under a well-founded fear that his sexuality will imperil his career. He and his partner, drag queen Rudy, find that their status as a gay couple is used against them as they fight to retain custody of Marco, an abandoned teen with Down syndrome. This is a story marked by grave injustice, though we are expected to accept on face value that Marco will be better off with Rudy and Paul than in foster care.
A new film follows the experiences in 1961 of German-American Jew and political theorist Hannah Arendt, who coined the phrase 'the banality of evil' in relation to Nazi 'desk-murderer' Adolf Eichmann. The cerebral nature of Hannah Arendt provides a counterpoint to another current film about a strong, flawed woman: Gloria is remarkable for the way it unabashedly honours the emotional and sexual lives of its older characters.
Homophobic Texan electrician Ron learns he has AIDS and may have only 30 days to live. Desperate for a cure, he heads to Mexico, where a disgraced doctor treats him with unapproved pharmaceutical drugs. Ron begins to smuggle the drugs into the US, to distribute to other AIDS sufferers, including Rayon, a trans woman who becomes Ron's friend, business partner, and ally against the Big Pharma interests that try to shut him down.
London journalist Adrian Gill refers to the 'incremental shutdown' of old age, British Prime Minister Disraeli, who died at the age of 77 after a life of great and varied achievement, stated that old age was a regret, while noted Hollywood star Bette Davis roundly declared 'Old age is no place for sissies.' In rural Greece, it is considered shameful to instal an old relative in a home, and most aged people see their days out amid their family.
On Saturday Dylan Farrow accused her adoptive father, the filmmaker and actor Woody Allen, of sexual assault for the second time. She first made these allegations when she was seven years old. There is a real ethical concern when allegations that have been denied in court continue to be raised publicly. We need to be able to forge a difficult balance between making space for ongoing doubt and fuelling public vilification.
In Australia the reality of ongoing Indigenous disadvantage is proof of the effect of past atrocities on the structure of ensuing society. Likewise, despite some democratic progress in recent times, Indonesia's unhealed past remains a source of serious human rights problems. The Act of Killing demonstrates a direct continuum between the evils of the past and the present political reality.