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There are more than 200 results, only the first 200 are displayed here.
If you listen carefully, the sound of each colour can be heard, the scrunch of each mineral discerned, each cadence, a trace of its former life, a finer distinction. Relieved of its cumbersome form, it becomes lighter and mixes with white spirit like a cocktail blast of violets, mauves and ochres, ground to a fine powder and wet with new life.
Tully is a funny film, with a serious core: a tribute to the labour of child rearing, a dissection of the substantial physical and emotional burden of this work, and a 'show-don't-tell' critique of the social norms that frequently sees that burden fall, still, primarily on women.
The flagship cultural measure in the budget is, strangely, a flagship: the Endeavour. The government announced '$48.7 million over four years to commemorate the 250th anniversary of James Cook's first voyage to Australia and the Pacific'. A permanent presence on the first site of local trauma is not a vision for a nation.
The boys conquer one hazardous feat after another: entering the ocean via rocky cauldrons; sharing waters with a mythic giant shark; tackling waves that rear up over a deadly shallow reef. In so doing they confront their fears: of physical peril; of failing, or failing to meet the expectations of the group; of existential ordinariness.
A grim and gripping tragedy on this personal level, as a whole Loveless functions also as a metaphor for political life in contemporary Russia. The fatal fracturing of its relationship with its neighbour Ukraine provides a backdrop and, for the degeneration of Zhengya and Boris' marriage and the resultant alienation of their son, a touchstone.
The spectacle would be funny if so many people didn't partake in and enjoy it. It feels cartoonish, like a Wolf of Wall Street where 30 Jordan Belforts compete to be the top salesperson. Instead of Wall Street glitz, the fortune we compete for is made by selling raffle tickets for charities.
The commentary around the film's appropriation of Japanese culture has been sustained and substantial. At least these allusions are for the most part detailed and respectful; that the hero is named after a defunct American video game company is less palatable. Trickier still are the creative decisions related to language.
For gay teens and those who known them, the film is vitally affirming. But there's baggage that comes with its treatment of these themes that undercuts its efforts to engage the experience of alternative sexual orientation. Simon may be gay, but he is also explicitly a privileged white man.
We know how this is going to turn out historically: the 1971 referendum is successful. There is a certain quaintness to the film that makes it feel off the pace of the current conversation around women's rights. But there is an engaging frankness to its attention to the sexual liberative dimension of women's self-agency.
Critics are right to say the marches are ineffectual in the face of bipartisan and popular support for Australia's brutal behaviour. But the faces of those who take part - refugees and activists, older Australians and children, churchgoers and atheists - witness that the Australian community can wear a compassionate face.
Kane insists God doesn't make mistakes: 'That's what makes him God.' Lena retorts with reference to the Hayflick limit — the naturally occurring limit on the number of times cells can divide. Never mind cancer; the very fact of ageing, she says, comes down to a flaw in our DNA. It's a telling scene, pointing to a scientifically enlightened humanity at odds with its own physiology.
Politicians like to talk family. They talk about their own during campaigns, to establish their credential as human beings. They talk about ours, the 'working families' and 'family values' upon which socio-economies rest. There is even a party called Family First. But let's get real. We wreck families all the time.
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