Ghostlight is a heartwarming film that blends comedy and drama through its exploration of grief and healing. This film is an excellent look into how a family may come together (or not) after an unexpected tragedy.
Directed by Kerry O’Sullivan and Alex Thompson, Ghostlight tells the story of Dan (Keith Kupferer), a construction worker who finds solace and purpose in a local theatre’s production of “Romeo and Juliet” after drifting apart from his wife Sharon (Tara Mallen) and daughter Daisy (Katherine Mallen Kupferer) due to a personal tragedy.
The film’s strength lies in its authentic portrayal of a family grappling with loss. What helps to achieve this authentic portrayal is that the three main characters are a family in real life. Kupferer delivers a standout performance as Dan, who provides a heart-wrenching and uplifting journey of a construction worker dealing with the loss of a Shakespearean actor. The supporting cast, including Dolly De Leon as Rita, adds to the story, making the characters’ struggles and triumphs feel real and relatable.
Another strong strength of Ghostlight is its storytelling and the character development of the family. The storytelling kept the pace of the film going as you watch these characters grieve and grow together to become the tight-knit family they once appeared to be.
There are only minor quibbles in the film as Dan struggles to overcome his own grief and blame. The narrative is beautifully put together and evokes genuine emotion. Some of the most memorable shots happen during the theatre scenes.
Ghostlight is not just a film about grief; it’s about the healing journey and how you can find companionship and comfort in the most unlikely of places. The community theatre setting provides a perfect backdrop for the characters to confront their pain. The film depicts the unpredictability of life and how creativity can help deal with any obstacles.
Without giving too much away there were two scenes that struck much emotion; the first being Dans breakthrough about the personal tragedy and the performance of Romeo and Juliet. Overall, Ghostlight is a touching film that will stay with you long after the credits roll. The great storytelling and powerful performances make this a standout film worth the watch.
This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.
Trust emerges as a standout film for this year’s St ALi’s Italian Film Festival, running nationwide at Palace Cinemas from September 18 to October 23. It invites viewers into an intricate psychological drama where love and fear dance together in a narrative that is as gripping as it is thought-provoking. Directed by the award-winning Daniele Luchetti and based on Domenico Starnone’s novel Confidenza, the film delivers an exploration of human emotion that lingers long after the credits roll.
The central figure in Trust is Pietro (Elio Germano), a well-respected teacher beloved by his students and admired by his peers. His reputation, built on his progressive pedagogical philosophy that affection trumps fear to inspire students, casts him as a pillar of his community. This idea of the “pedagogy of affection” becomes a thematic thread throughout the film, highlighting Pietro’s compassionate and encouraging nature. He’s the antithesis of the authoritarian teacher, choosing love over the fear of failure to guide his students toward their best selves. This progressive approach resonates with audiences, especially considering its relevance in the 1980s and ’90s when the film was set.
But a darker truth lies beneath Pietro’s moral righteousness and public adoration. His life takes an unexpected turn when he rekindles a relationship with a former student, Teresa (Federica Rosellini), one of the brightest minds he ever taught. After they meet again, Teresa confronts Pietro with a profound and unsettling declaration—she has always known about his affection for her, an affection he can no longer deny. Though the two begin a relationship, their dynamic becomes fraught with complexity and tension.
What starts as a seemingly genuine romance soon unravels into an obsessive and destructive bond. Teresa becomes aware of Pietro’s most closely guarded secret, a revelation that binds them together in a way that is almost stronger than love—through fear. The power of this secret is so immense that it threatens to undo the very foundation of their relationship, raising a central question that permeates the entire film: Is love more powerful than fear, or do these two emotions inevitably co-exist in a relationship built on vulnerability?
Luchetti masterfully plays with these concepts of love, fear, and honesty throughout the film. His direction ensures that the audience is never too comfortable, always wondering whether the bond between Pietro and Teresa is driven by genuine affection or by the terror of having their deepest fears exposed. The result is an exploration of how once-shared secrets can become weapons, altering the course of a relationship forever.
While Trust succeeds in exploring these weighty themes, there are moments when the film falters. Certain scenes feel unnecessarily drawn out, adding little to the overall narrative and making the film feel longer than its runtime suggests. As a thriller, Trust sometimes lacks the tension necessary to keep audiences on the edge of their seats, leaving a few key moments feeling flat. These pacing issues could have been addressed with tighter editing, which might have sharpened the film’s focus.
Despite these minor flaws, the performances are nothing short of extraordinary. Elio Germano delivers a nuanced portrayal of Pietro, a man whose inner turmoil is constantly simmering beneath his calm exterior. His ability to convey vulnerability and authority makes his character a fascinating study in contradiction. Federica Rosellini is equally impressive as Teresa, her performance embodying a mixture of longing, manipulation, and pain. Together, they create a volatile and captivating dynamic that anchors the film.
The supporting cast, including Vittoria Puccini as Nadia and Pilar Fogliati as Emma, adds further layers of complexity to the story. Isabella Ferrari’s portrayal of Tilde provides a sense of groundedness amidst the chaos of Pietro and Teresa’s relationship. Each performance enriches the film, allowing the audience to explore different facets of Trust, fear, and human interaction.
Ivan Casalgrandi’s cinematography elevates the emotional tone of the film. His use of shadows, light, and shots peering through windows door creates an atmosphere of quiet tension, echoing the characters’ internal battles. The set and costume designs also reflect the 1980s and ’90s setting, giving the film an authentic feel without distracting from the central narrative.
One of the standout aspects of Trust is Thom Yorke’s haunting score. Known for his ability to craft music that evokes deep emotion, Yorke’s contribution here is no different. His atmospheric soundscapes underscore the tension and emotional weight of the film, drawing the audience deeper into the story without overwhelming the performances. The themes of Trust are universal and timeless, making the film deeply relatable for audiences of all backgrounds. At its core, the film asks whether honesty, when laid bare, can strengthen or destroy a relationship. Can love survive when fear takes hold, or does fear inevitably erode Trust? These are the questions Luchetti leaves audiences grappling with, and their unresolvable nature is what makes Trust such an impactful film.
As the premiere film of the St ALi’s Italian Film Festival, Trust sets the tone for a fantastic lineup of Italian cinema. It challenges viewers to think deeply about the nature of human relationships, leaving them with more questions than answers, which is often the hallmark of a truly great film. Despite a few pacing issues, Trust succeeds as an emotionally resonant and visually arresting exploration of love, fear, and the secrets we hide from each other—and ourselves.
Film Review: Trust (2024) Directed by Daniele Luchetti Starring: Elio Germano, Federica Rosellini, Vittoria Puccini, Pilar Fogliati, and Isabella Ferrari Based on the novel Confidenza by Domenico Starnone Original music by Thom Yorke
This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.
Diving into the Darkness is a captivating and immersive documentary featuring Dr. Jill Heinerth and her deep sea and cave diving expeditions. Directed by Nays Baghai, it shows footage of various underwater adventures undertaken by Dr Heinerth and explores the dangers, wonders, and beauty of nature in its raw state.
While identifying the dangers involved in her role, Dr. Heinerth gives honest and thoughtful narration that encompasses the spirit of an explorer. Her tenacity, resilience, and eloquent storytelling set the scene, alongside the engaging, atmospheric soundtrack and the well-adjusted lighting and camera angles.
It was also interesting to see the animation design throughout the film as Dr. Heinerth recalled memories that shaped her journey. During this, the themes of personal growth and courage were well portrayed. It seemed that she was giving viewers a call to action, to question how our fears direct our lives. Having completed over fifty expeditions across multiple continents, the message is one that she seems more than qualified to speak on.
As the themes and content of the film seemed to be the focus, it made sense to see the cast wear denim or navy shirts instead of elaborate ensembles. They maintained a clean and professional presentation that did not detract from their intended purpose and removed the possibility of distraction.
The photography was high quality and was complimented by the slow scans across the various landscapes. Given the biome that the crew were filming in and the difficulty of diving with such equipment, it is impressive to see each shot recorded underwater have the right amount of lighting and clarity. This quality and style of filming brings the viewer along for the ride and allows them to engage more fully in the content, which I am glad to say I was.
The soundtrack was theatrically appropriate, offering suspenseful moments as well as gentle, reflective ones throughout. Paired with the great film quality, the soundtrack pulled me in from the first scene. It felt like there was something to explore and be inspired by. I appreciated the atmospheric composition, as it was a large part of the storytelling experience.
From Mexico to Antarctica, Dr Heinerth and her colleagues (Dr Bill Stone, Brian Kakuk, and Natalie Gibbs) strived to paint a clearer picture of climate change, water health, and the vital role that cave divers play in exploring our world. This documentary thoroughly impressed me, and I look forward to seeing what they do next.
I’ve taken a jockey’s view seat at the beautifully posh Como Cinema in South Yarra – a perfect place to see the new big screen preview on the life of ‘Winx’, an Australian thoroughbred mare; a champion like no other who stole the heart of our nation like a modern day ‘Phar Lap’.
‘A Horse Named Winx’ is a movie length documentary on the story we DON’T know about Winx. If there had been a reality TV show during her racing years and after her retirement, this would be it.
Winx held the power to give the chance of a lifetime to trainer Chris Waller. Chris is interviewed extensively and rests on his true emotions and love for Winx – he seems humble and thankful – a bloke who previously felt like he didn’t belong amongst the great names of horse-racing.
The documented movie follows Winx’ owners’ memories and all those who were part of Chris’ training team; those who rode and cared for her from early days on the track right through to the birth of her record-breaking $10million foal.
Whilst the hopeful story (in general terms) is one very familiar to me; having lived on a horse stud with my brother and his mates dabbling in training and racing (like many others, they would’ve loved to have lived in Chris’ boots). Hearing my own mother’s childhood stories of her family’s retired racehorse property. My former lawyer-bosses trying their hand at the prestigious ownership game (they wrote out a lot of cheques for little return). This screening of Winx’ life however enlightened me to see what it’s really like for those who take on a filly without knowing her incredible potential.
‘A Horse Named Winx’ is “real” and not “acted” – you are seeing actual footage of the races with straightforward speaking from everyone at the heart of Winx’ career and success. You will probably watch it with eager eyes not because you might get some inside information on picking a winner (I personally don’t bet on horse-racing but I’m sure many who see it might), but because you will more generously appreciate all the work and sacrifice that goes into those moments where you scream GO GO GO, dress up for the Melbourne Cup or hear about your friend winning big on a trifecta.
There’s so much more to horse-racing; SO, SO, SO much more – it’s important to recognise that all the hype and glamour is brought about by animals trying to go faster than those next to them. ‘A Horse Named Winx’ highlights those thrilling minutes, but explains the real timeline to get to them. It shows us a fine line between training and talent.
Winx’ job was to be a racehorse and was the “world’s best” in her era they say, something her buyers never thought would happen when their last bid was knocked down to originally purchase her at a mediocre price. And despite never going overseas; another factor showing her trainer and owners put priority on horse-welfare and did not succumb to invitations from around the globe and subject her to a 36hour flight. As an avid animal lover, this inclusion impressed me. These people don’t see the need to big-note themselves. They constantly praise the horse.
Two lines stood out to me:
“Who cares if she wins, is she OK?” and “What’s best for Winx?”
Mostly you are watching serious stuff and the thoughts behind difficult decisions being made, but there is some fun; apparently Winx could be a diva! You’ll find out how she got her name, and giggle at comments from the strapper “I’ll have to move to Germany” after she’s afraid Winx has hurt herself, the kind guy who broke her in “I rode her first”, and the farrier who states “no foot, no horse”. I liked these people who were also in Winx’ journey having their say and I liked seeing the veterinarian teams too being gratefully acknowledged.
Winx’ story proves anything is possible, you can be last and still come out on top. I agree with one cute race spectator’s opinion: “who wouldn’t love her?”
If you can hold back a tear on her final race ending with Hugh Bowman, you’re more stoic than me and I was watching that particular win for the first time (I now know why my mum wanted me to watch it back then).
This look into horse-racing is detailed from the opening scene to “awwww” return in the last one.
Enjoy and learn, as you should with documentaries, but remember not all racehorses are this fortunate (most are not) however highly recommended if you want to see a “real life” in-depth showing of the behind-the-scenes world of superstar equine athletes.
Exceptionally well done by Director Janine Hosking and Writer Andrew Rule who were given an opportunity of unprecedented access to develop a moving cinematic documentary; a horse-racing fairytale!
