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It's frightening how precisely experts predicted the weather and its impact on the seemingly inevitable Black Saturday fires. A new documentary questions the adequacy of the response, given the veracity of these warning signs.
An ancient brotherhood of scientists and artists with a beef against the hierarchy reemerges to try to hobble the Church. The Pope is dead, and the Church leaders, at their most vulnerable, must rely on an old nemesis to be their saviour.
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.
Samson and Delilah is an ode to Alice Springs and its extremes; an ethereal love story against a backdrop of addiction, violence and displacement. Racism is not an explicit presence, but it is there, a foul breath that muggies the air.
In 1982, Lebanese Christian militiamen murdered 800 civilians at Palestinian refugee camps in Beirut. Ari Folman witnessed the massacre as a 19-year-old Israeli soldier. He sets out to reveal those repressed memories.
Within the cloistered world of Opus Dei, a young girl, Camino, is dying. The Church hierarchy and its emphasis upon a Father-God have displaced the nurturing instincts of Camino's mother, who urges her daughter along the path of suffering.
The filmmakers interviewed numerous asylum seeker advocates. Most were women, advocating on behalf of young men. Their relationships were intense and complex.
Mary is a socially awkward adolescent, growing up in 1970s suburban Melbourne. Her penpal Max is a lonely New Yorker, a chronic overeater with Asperger's. Adam Elliot's films are not just about difference. They are about justice.
Let's face it, caricature is easy. Rhetoric that links bikies with terrorism and organised crime makes for sensational news, but good journalism demands more than that. So does compelling storytelling.
Be it fact or fiction, there is something humanising in the notion of young Pauline Hanson exposing her not-so-innocence to her then boyfriend's camera.
A French satirical paper was sued for portraying Muslims as terrorists and labelling them 'jerks'. The editors would have us believe it's a case of free speech versus censorship. But there's more to it than that.
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.
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