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In China, the resurgence of traditional Hanfu garb from the Han dynasty is capturing the imagination of social media users, sending a multi-layered message about Chinese identity. The trend goes beyond most online fads, subtly conveying China's desire to project cultural and political influence.
Amid the noise of Batman battling Superman, the Avengers turning against each other, and middle aged fanboys whingeing about the Ghostbusters franchise being revitalised with an all-female lead cast, 2016 has actually been a pretty solid year for movies, both in and outside of Hollywood. We haven't had time to see them all (we have a magazine to publish, after all) but nonetheless here is a list of our ten favourite films reviewed in Eureka Street this year.
As screenwriter for comic such oddities as Being John Malkovich and Adaptation, Kaufman delineated a particular type of over-educated, middle-class, white male character. His protagonists are artists whose alienation and self-loathing is at odds with their social privilege, and whose creative drive entails a winnowing for authenticity or immortality that leads them inexorably down the rabbit hole of their own navels: the search for meaning as the ultimate act of self-absorption.
Back in March, I strolled the streets of Fitzroy in Melbourne's inner north with Warwick Thornton, trying to find a quiet spot for an interview. Two months prior to the release of his feature debut, Samson and Delilah, Thornton was quietly hopeful his film would be positively received.
What is a synecdoche? Work that out and you're part of the way to understanding this brilliant if convoluted opus. Suffice it to say that Caden Cotard, the bloated, self-loathing man who presides over the corrupted world at the film's heart, may in fact be God.