The Last Paradise On Earth

The Last Paradise On Earth (Scandinavian Film Festival)

The Last Paradise On Earth (Scandinavian Film Festival) Rating

Click if you liked this article

A lot of people say the grass is greener on the other side. But what if, despite everyone else turning their back to it and telling you to do the same, you were perfectly happy with the hue of your green.

The Scandinavian Film Festival is ready to set sail across Australia. And with it The Last Paradise On Earth, Directed by Sakaris Stórá, glides in to dock.

This touching Danish drama film centres on Kári (Sámal H. Hansen), a kind and bashful young man, who calls the Faroe Islands home. On one of those remote islands he spends his quiet days working at the local fish factory and trying to connect with his sister, Silja (Bjørg B. Egholm), both of whom have been struggling since their mother passed away.

With the increasing pressure of the factory potentially closing and their father’s sudden leave for work on the sea, Kári must do what he can to keep his and Silja’s life afloat, all while discovering his own path forward.

The story is a hunt for belonging and finding a sense of self in hard times. Like many people these days, the doubt of if you are in the right place and doing what you should be doing with your life feels very relatable.

 

 

It seems that everyone in the village is either leaving the islands for a better, more exciting lifestyle, or incredulous that Kári isn’t. The constant force upon him becomes overbearing at times, and puts you right into his shoes of getting fed up with the repetitive questions, yet also second guessing his purpose in life.

The consistent pace of the film allows you to become familiar with the island’s day to day routine, as if you’re living the days along with them. But never feels monotonous as you see Kári becoming himself in the calming nature surrounding him, appearing comfortable only when out in the fresh elements and birdsong.

In the breathtaking setting of the Faroe Islands, it’s hard to think anything could stand out from the gorgeous mist ridden mountains and colourful Scandinavian houses – yet the emotions that echo through the land are a big takeaway from the film.

Both Hansen and Egholm bring a melancholic beauty to their characters, where you can be pulled into their emotions just from a glimpse into their eyes. Through their engaging portrayals you could easily be fooled into believing it’s their real lives and relationships you’re seeing on screen.

As you continue to watch Kári and Silja piece together their identity and relationship with each other, even in spite of the remote location, the film charms you into feeling right at home with your own emotions. Because of that, the fresh island air of melancholy and delightful visuals make The Last Paradise On Earth a delicious Danish treat.

To book tickets to The Last Paradise On Earth (Scandinavian Film Festival) , please visit https://scandinavianfilmfestival.com/films/sca25-the-last-paradise-on-earth.

Spread the word on your favourite platform!

Slay: A Theatre Works Presentation

Slay

Slay Rating

Click if you liked this article

What happens when you put four lesbians in a room with the iconic cast of Twilight, Glee legend Sue Sylvester, and extremely polarising politician Pauline Hanson? Well, a terrific game of Kiss, Marry, Kill, of course!

And the killing doesn’t even remotely stop there. Slay is a political horror comedy where those same four lesbians are being targeted by a killer after someone they know suddenly disappears. One-by-one the girls start to fall victim to the mysterious killer (who is a slay themselves in their dazzling costume).

As the story progresses, it is also intercut with two further narratives of storytelling – the segmented manifesto of an intense political party (SLAM), run by lesbians who are tired of cis men leading the world, as well as renditions of different social media platforms and their associated rabbit-holes of misinformation.

As the cast portrays an array of bizarre individuals that you would find in a Reddit thread or being asked for their ‘hot takes’ on a subway for TikTok – they are sandwiched tightly between the other polarising narratives taking place. It mirrors this generation’s low-attention span habit of scrolling through phones, playing a game, and watching TV all simultaneously. And though you are bombarded by aspects of the show, there’s a perfect amount of satirical comedy and pop-culture references in the mix for it to be an enjoyable smack in the face.

The four actresses of the production, Raven Rogers-Wright (as Ziggy), Jackie van Lierop (as Jessica), Anita Mei La Terra (as Cora), Louisa Cusumano (as Valentina and Kiki) are an excellent ensemble throughout each of the sub-stories. Rivalling classic casts of campy horror favourites, such as Scream and Scream Queens, they all work together with such an infectious energy that gives the show a lot of life, which is ironic given the death surrounding them.

Particularly during an unforgettable and passionate round of Just Dance, Anita Mei La Terra (Cora) completely smashes her dance moves in style. And the way the game is incorporated into the stage design flawlessly while the scene unfolds, leaves the crowd in hysterics and tears.

Continuing to kill in terms of the production design and lighting, the crew was able to make the small stage feel so much larger and dynamic with just a scarcely sheer sheet behind the stage, which was a joy to watch. It led to depth through projections onto the sheet and scenes occurring through it. The only thing the set lacked was a way to raise any floor-based scenes higher for more audience visibility. Even though the seating was tiered, the view was often obstructed for scenes like the opening slumber party game, which was a bummer when it was so entertaining.

The biggest takeaway though was that the director Steph Lee, and her fellow cast and crew creatives that worked to construct Slay, are ones to watch for the future. If this is the unique, succinct, and enjoyable material you get to consume from this team, it won’t be hard to return.

This political campy slasher was perfectly devised for the stage. It would make you fight to be the ‘Final Girl’, just so you can be the last one standing and watch it all.

To book tickets to Slay, please visit https://www.theatreworks.org.au/2025/slay.

Photographer: ISABELLA ‘IZ’ ZETTL

Spread the word on your favourite platform!

Spit: An Australian Sequel

Spit

Spit Rating

Click if you liked this article

1

If you thought running in heels was tough, imagine running in a pair of thongs…while trying to outrun border security…on a moving baggage carousel. No need to do it yourself, though, because Johnny ‘Spit’ Spitieri absolutely nails it in this fresh Aussie flick.

In this follow-up to Aussie Action/Comedy hit Getting’ Square (2003), we get to reunite with our beloved side character & ex-heroin addict, Spit (David Wenham). Last we saw of him, Spit was stuck in the middle of trying to appease a corrupt cop, a criminal kingpin, and an agent from the Criminal Investigation Commission. Leaving them (and his crippling debt) in the dark, he faked his own death and fled to Israel to…well, as the predecessors title will tell you, get square.

Picking up 20 years later as he re-enters Australia, still rocking the women’s jeans and perhaps too laid-back attitude, Spit is now off the gear and looking to restart his life. But it seems suddenly coming back to life ruffles more than a few feathers with old associates.

Where on one foot Spit seems like perhaps the most idiotic person you could ever meet, he’s seen by people on the other foot as being a criminal mastermind. So watching the game of cat-and-mouse from both extremities, particularly in moments where they are quickly intercut together, is absolutely hilarious.

As with any great comedy, the story has a lot of heart and each character is played completely seriously, which makes daggy Spit all the more entertaining. Fear stood on end any time Chicka (Gary Sweet) graced the screen, and so much joy came from the relationships Spit made with the refugees at the Immigration Detention Centre.

The whole cast of refugees, many of whom are true refugees/offspring of immigrants themselves according to Wenham, gave a depth to the film that was hugely memorable. Particularly Arlo Green (as Jihad), who played such a beautiful soul that both saw, and brought out the heart in Johnny Spit himself.

A few scenes that hung on a little too long and minor characters that didn’t feel essential (the recast of the late-great Richard Carter, a not-so bright lawyer, and the Tik Tok dancing daughters) were easily bypassed for the joy that surrounded them. Drowned out also by the striking punk/rock soundtrack that added to the grittiness and almost nostalgic feel of the film – thanks to local Australian bands such as Frenzal Rhomb and Amyl and the Sniffers.

Many people are quick to roll their eyes at the mention of a sequel, but this one feels well-earned. With a majority of the cast and key crew returning after 22 years, you could tell that it meant a lot to them and that they felt it was essential to revisit the world.

What stood out from the first instalment was that Spit injects a lot more emotion and had some real shocks that that left a lot of people feeling elated at its conclusion. And for fans of the previous film, don’t you worry, there is still a stand-out courtroom scene and plenty of close-up thong shots to get all you Quentin Tarantino sorts excited.

Spit truly got a chance to be rubbed in and become shiny, creating easily one of the best comedies Australia has produced in a while. It is worth supporting in cinemas, and thongs crossed that we get to see more home-grown comedies like this in the near future.

Spread the word on your favourite platform!

Hot White Kiss

Hot White Kiss

Hot White Kiss Rating

Click if you liked this article

1

Written and directed by James WF Roberts, Hot White Kiss is an hour-long play focusing on five individuals, all sporadically linked through polyamorous & bisexual relationships with each other. Yet sparking and fuelling their individual flames isn’t oxygen, but the dangerous elements of addiction, abuse, trauma, and self-destruction.

The story, stemming from a poem Roberts previously wrote, is no stranger to The Butterfly Club. It now returns almost a year later as part of the Midsumma Festival and with a larger cast. Sticking with its previous venue proves to be an asset, as Hot White Kiss’ gritty themes fit perfectly with the grungy, basement-esque setting of the Club.

The show follows Leena, a heroin addict who cannot see the harm she’s inflicting on herself and others, and John, a wannabe poet trying to get out of the harmful addictions he’s found himself dealing with, including Leena. Surrounding them is Cilla, a drug-dealer who is obsessed with controlling Leena’s life, and a married polyamorous couple (Bill & Taylah), who see the harm from a far but do little to help.

Savier D’Arsie-Marquez (John) and Olivia Buckton Smith (Leena) stand out as the two main characters, who appear to have no positive reason to stay together. Not that it would stop them. They both portray a great amount of hurt and panic through their deliveries and expressions, that had them feeling like genuine people.

Most of the audience stayed wide-eyed and quiet throughout the performance of emotions on stage – but the few large laughs that broke through came from D’Arsie-Marquez’s ability to have fun with the dialogue in well-timed moments that made his character shine.

Considering the topics of the show, it felt there shouldn’t be a personified villain to the story. Yet Cilla’s (Bridgette Kucher) Joker-like smirk and constant manipulation of Leena often evoked that anger. There weren’t many redeeming parts that made us understand why Lenna stays with her, well portraying the abusive relationships you sometimes question from the outside.

The interpersonal relationships between each of the characters are constantly calamitous. All of them using the other people as person-shaped climbing block to get higher and leaving the other bleeding down below. But no one truly ends up on top.

However, a lot of the romances between characters felt slightly fabricated. It would have been enjoyable to see there be a bit more of a connection or backstory between the two leads. One of their most interesting scenes when reminiscing their past together was more like a tease of a flame that left you wanting to understand more of their relationship.

An unfortunate and constant jarring of the show came from the music played between scenes and set-ups. The audio’s sudden slice through the tension and emitting from the back of the theatre gave an illusion of a phone going off in the seats. By the time the understanding came that it wasn’t that, the emotional tether had already been cut. If it could fade in/out or come from behind the curtain instead, it would help keep the tension high.

Overall, the show was strong in the moments it felt grounded and real between characters. And though confrontations ended with not a lot of pay off and a few things left unanswered – it felt supportive of the less than comforting ending you often get when involved with addiction and toxic relationships like these.

And if they were hoping to raise addiction awareness additionally – one man leaving the theatre who noted, “Well…I’m never going to do heroin” certainly got the message.

To book tickets to Hot White Kiss, please visit https://thebutterflyclub.com/

Spread the word on your favourite platform!