Comedy With A Heart!

Spanish Film Festival – Babies Don’t Come With Instructions Rating

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Babies Don’t Come with Instructions is a 2024 Spanish comedy-drama film directed by Marina Seresesky and written by Marta Sánchez and Irene Niubó, based on the 2013 Mexican film Instructions Not Included.

Leo is a carefree womaniser, living a self-centred life in a small coastal town in the Canary Islands. His world is turned upside down when a woman from a brief, casual affair shows up, drops off their daughter, and leaves, making him responsible for her.

At first, Leo intends to return the girl to her mother, but his attempts fail. Forced to raise her, little by little, he learns how to be a father, and his values and priorities shift in unexpected ways. Years pass, filled with happiness, until the mother reappears intending to reclaim her daughter. Will he give her up easily, especially with a mystery illness?

Director Marina Seresesky has pulled out all stops to extract every nuance of Sanchez and Niubo’s script and given us a taste of the Canary Islands in all its scenic wonder.

The characters are well drawn, and the action is well paced. I particularly enjoyed the developing relationship between Leo and his ‘daughter’ Alba. It tugs at the heart strings and a tear or two!

Paco Leon’s Leo is vulnerable and takes us on a journey from a unexpected father to a devoted parent who cannot live without his daughter and wants to enjoy his little girl before time runs out! The scenes when he is climbing up buildings are beautifully photographed.

Maia Zaitegi’s Alba is everything a little girl should be – innocent, naïve, idealistic and devoted to her father. The scene when she returns to Leo after being taken to Munich by her biological mother is charged with emotion.

Silvia Alonso’s Julia has the difficult role of the mother who abandons her child and returns to get her eight years later. This could have resulted in a performance that creates a disagreeable character, but not so Alonso’s portrayal. One can see her viewpoint and we feel for her.

Malcolm Treviño-Sitté’s Modu is the best friend we all wish we had. He is loyal to his wife, but equally loyal to Leo and supportive especially when he learns of his life-threatening illness.

The remaining cast give solid performances that enhance the main characters and storyline.

It is interesting that the décor Alba’s bedroom grows as her relationship with her father grows. It is every little girl’s paradise with a swing, a slide from her bunk bed to the floor, toys everywhere and an immense picture wall of her and her father.

Babies Don’t Come With Instructions is a heart-warming comedy that is sure to please any theatre goer who is a parent or simply enjoys a good story with a message. It is a cinematic gem and definitely worth a watch!

To book tickets to Spanish Film Festival – Babies Don’t Come With Instructions, please visit https://spanishfilmfestival.com/films/spa25-babies-dont-come-with-instructions.

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The Bubbles Festival: Two hours of bliss!

The Bubbles Festival

The Bubbles Festival Rating

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Who doesn’t like champagne, surely there can’t be anyone? The Bubbles Festival is currently touring around Australia spreading champagne love and we’re glad they are!

Devised by founder Natalie Pickett who created the idea during a meditation and so “divinely inspired”, it is a must for all lovers of the heavenly grape.

The event is an initiative of the Bubbles Review, supported by The Heart and Soul Group and is for people who like champagne and other bubbles! The Bubbles Review debunks the myths of champagne and makes the art of drinking champagne accessible.

The Festival is held at the iconic National Wine Centre, Adelaide which has the necessary ambience for a perfect two hours of education, tasting, giveaways and specials for the canny buyer.

The event begins with an introduction by Natalie Pickett herself who gives us an insight into tasting– picking the right glassware and how to taste (how the bubbles sound, the colour, the ‘nose’ or smell, the taste or where the champagne lands on the palate, and how it makes the consumer feel).

We also learn about the different methods of blending and the history of champagne. Natalie is the doyen of champagne and is a font of knowledge. I must confess, it took me all my strength not to taste the first offering before me on the table. I lasted till the tasting, some others didn’t!

We are then let loose to taste for ourselves, armed with tasting notes and our Riedel tasting glass, which we can take home as part of our ticket to the event.

There are representatives from six wineries scattered in the tasting room – George’s Folly, Goldings, Babo, Levrier, Kaeslar Wines and Champagne Abele 1757. The pace of tasting is just right, the representatives friendly and eager to share their stories (and wine) and the room is not too crowded.

The wines come from the Barossa Valley, the Adelaide Hills, Eden Hills, the Fleurieu, Italy and France. It is a world of wine for the discerning taster!

As well as the amazing selection of sparkling wines, there are canapes to encourage responsible drinking and to accentuate the flavour of the wines. The canapes are 5 star in presentation and taste and has something for every food group (great vegetarian options).

This was my first Bubbles Festival and it certainly won’t be my last! I increased my knowledge of champagne and tasting, met some fellow champagne lovers, enjoyed pairing restaurant quality food with wine and met the founder of the event, all packaged in the perfect venue for tasting!

The Bubbles Festival is a must for any lover of the grape. It is a heavenly two hours enjoying amazing wines. As Natalie says, it is a ‘Divinely inspired” event!

To book tickets to The Bubbles Festival next stop, please visit https://thebubblesreview.com/the-bubbles-festival/

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All About the Levkoviches Film Review

All About the Levkoviches

All About the Levkoviches Rating

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All About the Levkoviches is about love, inclusion, and the need to be accepted especially by your family.

It tells the story of a well-meaning but tenacious boxing coach, Tamás, who gets along well with everyone but his own son, Iván, who left the family and moved to Israel to join an orthodox community.

All goes well until Tamás‘ beloved wife, Zsuzsa dies unexpectedly, and Tamás tells his son that he can come and mourn in his house as long as he brings his grandson, Ariel with him. This, however, gives them a chance to settle their old grievances after years of not talking, and also helps Ariel deal with his own grief and his obsession that grandma’s spirit is still in the house.

It is an adroit combination of comedy and drama, and one of the few movies that offers something for everyone. The story, written by Bálint Csaba and director Adam Breier himself, is captivating and gives us a glimpse into the life of the Jewish community in Hungary, and the characters are definitely memorable.

Director Ádám Breier expressed his gratitude for the film’s reception, saying, “We are deeply touched by the number of people watching our film. It’s particularly gratifying that many have told us they’ve seen it multiple times or recommended it to family members,” as quoted in a press release by Mozinet, the film’s distributor.

The film provides a window into the lives of present-day Jews in Hungary, as well as the dilemma for a baal tshuvah (newly Orthodox) man who wants to keep the ties with his secular family.

 

While Tamás is grieving, the local Orthodox community supports Iván with traditional shiva practices, sensitively explored. There are some tender moments of humour among deeply emotional family scenes.

Zoltán Bezerédi’s Tamás is a wonderfully drawn character and the original grumpy old man, but his heart is in the right place with his care for his estranged son and his grandson. His scenes with Ariel, his grandson are touching, especially when he is teaching him to box.

Tamás Szabó Kimmel’s Iván is torn between orthodoxy, his love for his wife, mother and trying to do the best for his son. The scene when he slaps his son across the face is confronting, but almost understandable.

Leo Gagel’s Ariel is the ‘meat in the sandwich,’ divided between the love for his father and his love for his grandmother. The connection he builds with his grandfather is instrumental in reuniting his father with his grandfather.

All About the Levkoviches teaches us a particularly important lesson, which is that everyone grieves in their own way, whether they are old, young, or deeply religious. Learning to respect this is not always easy, but it has the power to mend broken relationships.

To book tickets to this or other films click https://www.jiff.com.au/

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Fuhrer and Seducer Film Review

Fuhrer and Seducer

Fuhrer and Seducer Rating

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‘Fake news’ is a term we are all too familiar with. However, it was not invented by one of the candidates in the current USA elections. Joseph Goebbels, the Minister of Propaganda in Adolph Hitler’s ministry of war was a master of fake news long before the immediate past president of the United States of America!

Führer and Seducer deconstructs Goebbels’ evil propaganda machine and reveals how he created the images, speeches and films that form the frame of reference when discussing the Third Reich. It is a powerful insight into historic events and how they parallel today’s ‘fake news’ landscape.

It’s 1938. Joseph Goebbels, the Minister of Propaganda, is at the peak of his power, while Hitler is celebrated by the people. But the dictator is marching resolutely towards war, and propaganda up to now has promised peace.

Joseph Goebbels, the Minister of Propaganda, accompanies Hitler during the seven years from the “Anschluss” of Austria in March 1938 to the murder and suicide in the Führerbunker in May 1945.

Goebbels is the creator of the pictures of loyal crowds and of the anti-Semitic films “Jud Süß” and “Der ewige Jude”, that ready the Germans for the mass murder of the Jews. After the defeat at Stalingrad and the situation worsening to the point of hopeless in late 1944, Goebbels plans the most radical propaganda act, his last hoorah – Hitler’s suicide, the murder of his family, and his own suicide.

Original propaganda footage is mixed with making-of scenes and juxtaposed with fictional private scenes. First-person Holocaust survivor testimony punctuates the drama while, in a final coup de grace, we are shown footage of actual shootings, hangings and other Nazi atrocities.

Director and writer Joachim Lang’s gives us remarkable attention to detail – make-up, lighting and clever editing. His film recreates and deconstructs the original Nazi propaganda – and its mastermind.

His Goebbels enjoys the challenge of maintaining poll ratings despite Hitler’s mind wandering and garbled speeches and policies. Repetitive messages of hate and fear, Goebbels could be talking about today’s small-screen social media when he likens propaganda to a painting: “It’s not the size that counts but the emotional impact.”

Robert Stadlober’s Goebbels is a mixture of manipulation for his own sake and a misguided vision of a Jewish free Germany. He is riveting to watch as he attempts to manipulate all around him, until there is no other remedy but death.

 

Fritz Karl’s Adolph Hitler is portrayed as a troubled soul, unable to think clearly as the war turns against him. He laments his inability to live like a normal person, to go to the movies, shop or even a walk for please. He admits “With the right advertising, any fool can take power.”. But even power is not enough.

Franziska Weisz’ Magda Goebbels is trapped in a loveless marriage. Her husband is having an affair and the country is self-destructing. All she can do is protect her children.

My only reservation viewing Führer and Seducer is the lack of viewpoint of the Jewish race during the holocaust. There are references and extremely confronting footage, but more interviews with the Jewish survivors could have added more gravitas to the film. But perhaps, lamentably there are not a lot of survivors left alive now.

With politics and democracy in the West facing its biggest challenge since WWII, Führer and Seducer is a reminder not to believe everything that we hear or see on the media.

As the film warns – “For if only we take a close-up look at the biggest villains of history can we strip the masks from their faces and thus disarm the demagogues of the present”!

“It happened… and it can therefore happen again. Therein lies the core of what we have to say.” (Primo Levi – Auschwitz survivor)

To book tickets to this or other films click https://www.jiff.com.au/

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