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It was all very quiet, and the waterfront was practically deserted. But I suddenly noticed a sole woman right at the water’s edge. She had her back to me, but I saw her lift what was clearly an icon, which she then venerated. I couldn’t hear her precise words, but it seemed obvious she was repeating the forms of the liturgy to herself.
Precipitation before thunder/anticipation in the dusty wings/ premonition & catalyst/excavation site unseen/the poem poised to be written/a treble clef before dancing notes/the dapple around the whisper/a story unbirthed & untold.
Insofar as there is hope in Francesco, it emerges gradually through an intimate viewing of the Pope’s engagement with the ‘hot button’ issues of our day, the environment and climate change, refugees and immigration, violence and conflict, disparity of wealth and poverty, women’s place in society and Church, family and sexuality, and sexual abuse within the Church.
Tall Fences, Taller Trees, directed by Dutch-based Iranian filmmaker, Arash Kamali Sarvestani, is a companion to Chauka, Please Tell Us the Time, which Sarvestani co-directed with Kurdish-Iranian writer and Manus Island detainee, Behrouz Boochani. On its most basic level Tall Fences, Taller Trees documents the making of the first film, but it is far more than that.
While the legislation was proposed as something of a measure of last resort, the numbers already tell a different story. Unfortunately, many of us with a disability look at these figures (and at the proposed legalisation of euthanasia in New Zealand, which will be voted on later this year) with a weary mix of familiarity and horror.
The past couple of weeks have seen the racism former Collingwood great Heritier Lumumba endured while at the club hitting the headlines. This is not the first time Lumumba’s allegations have been in the news, but on seeing Collingwood ‘taking a knee‘ in solidarity with the Black Lives Matter movement at their game against Richmond, he saw an opportunity to broach an hypocrisy which had long gone unaddressed.
Public mask wearing — including ‘a piece of cloth, a scarf, bandana, t-shirt, or paper towel’ — was hot on the global public health agenda. One major demographic, however, had trouble fashioning this expert advice: men.
There are the same bland assurances from successive ministers, the local MP and government bureaucrats that all will be well, nothing will go wrong; fears for lands and waters and the reputation of our state’s food, fibre and tourism brushed aside. Again a strong media secrecy, intended or otherwise, from all, save a few local regional, outlets.
The arts and entertainment industry requires a sector-specific bailout created in consultation with a broad cross-section of arts professionals that considers measures for both the shut down and rebuilding. The reality is it cannot simply start up again once lockdown measures lift without support.
While family violence and intimate partner violence are spoken about in Australia, there isn’t much general knowledge when it comes to the court process and what happens next.
Last year, two documentaries regarding the Adam Goodes booing fiasco were released mere weeks apart: Shark Island Productions’ The Final Quarter and Madman Films’ The Australian Dream, anchored by Stan Grant. Given the topic and timing of both of the films, I couldn’t help but compare the two films as an Aboriginal viewer who spends a lot of time dissecting Australia’s racism in her own analysis. As I watched both of them, my reaction to each was markedly different.
I circle the huge granite standing stone sunwise three times, as my ancestors did long before the designs of cranes and coins, of theory. ‘Tell me how and what they thought.’ No answer but the wheeling murmuration of a thousand starlings. A stubble field.
61-72 out of 200 results.