Artificial Justice is an offering from Spanish filmmaker Simon Casal as part of the HBSC Spanish Film Festival. The film poses an important ethical question for our times: AI versus humanity. (Many Australians will remember our own Robodebt catastrophe.)
This film centers around the key character, Judge Carmen Costa, credibly played by Verónica Echegui, who is asked to audit the intended rollout of ‘THENTE,’ an AI justice delivery system.
Thente computes risk assessments for criminal reoffending. The AI appears accurate, cost-effective, and can deliver seemingly unbiased, consistent results in a fraction of the time its human counterparts can. Unsurprisingly, the Spanish government is keen to roll out Thente, removing (human) court judges from the decision-making process. A national referendum is called.
Enter the company behind Thente, and company executives Alex and Brais, well-played by Alberto Ammann and Tamar Novas. Thente’s designer, Alicia Kovak, is portrayed by ex-model Alba Galocha. Alas, a more believable IT nerd would have been a smarter casting decision.
The film cleverly parallels the bridge between the AI that we already use (such as in our cars – in essence, trusting lives to the technology) and its future use. However, Casal co-wrote the screenplay with Víctor Sierra, and truth be told, too much of the screen action takes place via dialogue, which is not cinematic.
The narrative, too, poses a few credibility issues. For instance, given that Costa is a judge, she’s pretty cavalier about security measures—not only going on lone ocean swims but also taking no precautions once realising that she is being watched. Also, her assistant declines to find an IP address (not that difficult these days), so Costa is forced to seek out highly illegal measures via an ex-con hacker. Really?
As far as the plot goes, when Alicia Kovak is mysteriously killed in a car crash, Judge Costa begins to realise things are not as they seem – and even her own life may be in danger. Described as a ‘taut political thriller’ – the film-making is patchy, so at times the tension is more washing line, than tightrope.
As a newish feature-length director, Casal hasn’t quite mastered the nuances of the Noir genre, but he will be an interesting director to watch. Importantly, the film raises significant questions regarding the balance between AI, humanity, politics, and government. For that alone, the film is worth watching.
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.
Director David Trueba says of his film Jokes and Cigarettes – “This is a film about humour, and about survival. Eugenio was one of the most popular comedians of the Transition. Everything about his appearance was at odds with humour: a serious man, with no gestures, hiding behind tinted glasses and a black shirt, with a lit cigarette behind a microphone, who would be the one to make a whole country laugh. But… what was hidden inside him?”
Directed and written by multiple Goya Award winner David Trueba and starring David Verdaguer in a virtuoso performance, Jokes and Cigarettes tells the story of the famous Catalan comedian Eugenio, the chain-smoking comedian known for his deadpan delivery, his smoked glasses and his trademark total black attire. It concentrates on his formative years as a comedian during the 60s and 70s, where he became a fixture on the TV sets of every Spaniard.
Barcelona, late 1960s. A young jeweller named Eugenio meets Conchita on a bus and it is smitten. Eugenio learns to play guitar to follow Conchita a singer, and, despite stage fright, they start to play together. When Conchita leaves Barcelona for two weeks, she convinces Eugenio to perform solo and Eugenio becomes a phenomenon in the city’s underground comedy scene. Helped by Conchita, he creates his comedy ego–the dark glasses, the black shirt, the barstool, the cigarettes and the high ball glass–the character that would soon become an unexpected success.
The producer Edmon Roch recalls, “I remember when I went to see the comedian who made people laugh before he’d even opened his mouth. I was ten years old, and I could see my parents laughing their heads off at the sight of this tall man sitting on a stool, stretching out his every movement with an unperturbed gesture before he started to speak. There was a liturgy, an expectation, a palpable ritual. Later, when I discovered Buster Keaton, I thought of Eugenio’s unflappable face, he’s still present in our memory and his humour lives on.”
David Verdaguer delivers a totally believable performance as Eugenio. His deadpan delivery as a comedian is perfection contrasting with his love for his wife and son. I particularly enjoyed the scene where he drops in on his son’s school concert, surprising his son who is doing an impersonation of his father’s comedy act.
Carolina Yuste is compassionate, loving and also totally believable as Eugenio’s wife, Conchita. Her early scenes with Verdaguer are a joy to watch and her death scene is a tearjerker. Beautifully photographed, Jokes and Cigarettes also has a magical soundtrack of 60s and 70s Catalan music.
Jokes and Cigarettes is a film about humour and survival that explores what was hiding behind that serious man that made a whole country laugh!
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.
The Melbourne Food and Wine Festival, held from 31 May to 2 June 2024 at the Melbourne Convention & Exhibition Centre (MCEC), offers an unparalleled opportunity for food and wine enthusiasts to indulge in a rich array of tastes and experiences. If you have three or four hours, this festival is the perfect way to immerse yourself in Australia’s vibrant wine culture and gourmet food scene.
One of the festival’s most enlightening features is the opportunity to taste wines from every prominent wine region in Australia. Each winery is represented by knowledgeable staff who guide you through an extensive tasting menu, ensuring that you not only sample exquisite wines but also gain a deeper understanding of each variety’s unique characteristics and heritage. The wines at the festival are truly diverse, offering attendees the chance to discover new favourites they may have never experienced before.
In addition to the extensive wine offerings, the festival is also a haven for food lovers. Food trucks line the venue, serving a tempting selection of dishes, while boutique producers showcase their finest products. From artisanal cheeses and decadent chocolates to savoury pies and other gourmet delights, the festival brings together the best Australian cuisine in one location. It’s a gastronomic adventure that promises to satisfy every palate.
The festival organisers have taken great care to ensure the convenience of attendees who wish to purchase products. For those who buy in bulk, there are two excellent options: the Australia Post kiosk, where you can ship your purchases home, and the option to buy a market-style shopping trolley for $20, allowing you to transport your goodies with ease. These options make it a breeze to enjoy the festival without worrying about carrying heavy bags.
Sustainability is a key focus at the Melbourne Food and Wine Festival. While small plastic shot glasses are available for tastings, attendees are encouraged to use a glass provided at the event’s start. This glass can be refreshed or washed out periodically throughout the day, reducing plastic waste and promoting reusability. This commitment to sustainability is commendable and adds to the festival’s overall positive experience.
One minor drawback of the festival is the presence of long lines, which can sometimes be daunting. However, it’s possible to navigate the crowds effectively with some strategy and patience. By looking for less crowded areas and moving quickly to available spots, you can maximise your tasting opportunities and minimise wait times. A festival highlight is the masterclasses, including cheese and wine pairings, which can be booked as an add-on to your ticket. These top-rated sessions sell out quickly, so booking your spot early is advisable. The masterclasses offer an in-depth exploration of specific food and wine topics, providing a more immersive and educational experience.
The Melbourne Food and Wine Festival is more than just an event; it celebrates Australia’s culinary excellence. With live cooking demonstrations, stage events on topics like Italian cooking and cheese pairing, special guests, and daily giveaways, there’s always something exciting happening. Be sure to sign up for the prize draw when purchasing your ticket or at the door for a chance to win fantastic prizes.
In summary, the Melbourne Food and Wine Festival at the MCEC is a must-visit for anyone passionate about food and wine. It’s a fantastic festival that combines education, entertainment, and indulgence in a vibrant and welcoming atmosphere. Highly recommended for a memorable day out filled with good food, wine, and good times.
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.
The Princess Theatre was packed to the brim for the grand opening of Andrew Lloyd Webber’s Sunset Boulevard Musical. After nearly three decades, this reimagined production, presented by Opera Australia and GWB Entertainment made a triumphant return to Australia.
The musical premiered in 1993 at London’s West End and later that year in Los Angeles, receiving solid ticket sales. The Musical won an astounding 7 Tony awards in 1995 including best book, music, and lyrics awarded to Don Black, Christopher Hampton, and Andrew Lloyd Webber.
Sunset Boulevard is a captivating exploration of the darker side of dreams and the consequences of chasing them in the brutality and glamour of Hollywood. Taking the essence from the original 1950s Billy Wilder film and under the astute direction of Paul Warwick Griffin, this classic Noir musical weaves together satire, melodrama, and comedy into a mesmerising visual and auditory feast.
Narrated posthumously by the main protagonist, Joe Gillis, we are immersed in his sardonic flashback on the price he pays for a lavish lifestyle and fame. Through his eyes, we witness the tragic demise of a man drawn into the twisted delusions of Norma Desmond, a once-glamorous silent film star whose obsession with youth, stardom, and unrequited love leads her down a path of insanity.
The stage design in Sunset Boulevard captures both the allure and the shadows of this story. The incorporation of technology is truly ingenious, like at the start of Act 1 when the stage is completely engulfed by a lifeless body floating in a pool. The set centers around a magnificent gothic Hollywood mansion, featuring rich, dark embellishments illuminated by flickering candles, creating an atmosphere of opulence, drama, and tension.
The messages and themes in the musical are beautifully supported by the well-thought-out dramatic lighting that intentionally guides the audience’s attention. The standout closing scene, when Norma plays out Salome’s wild dance and finally receives the desperately-desired attention on “stage” is made powerful with the use of projections and handheld cameras as she stares directly into the the lens.
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Likewise, the contrast in costume design between the vibrant, aspiring Hollywood stars and the lavish, nostalgic outfits worn by Norma beautifully reinforced the underlying message of Sunset Boulevard. It symbolized the industry’s tendency to discard old stars while embracing the new.
Returning to the theatre for the first time in 30 years, Sarah Brightman stars as the larger-than-life diva role of Norma Desmond. As she graces the stage, the audience seems enthralled by her almost regal aura. Brightman has an impressive history in theatre and is famously remembered for her portrayal of Christine Daaé, in Andrew Lloyd Webber’s “Phantom of the Opera”, a score that was originally written for Brightman. However, whilst she looks the part of Norma, her delivery feels somewhat subdued, and her articulation, at times, unclear.
Joining Sarah is Australian actor Tim Draxl who plays Joe Gillis. He has an engaging presence and a voice that effectively communicates his character’s emotional journey. He morphs from an ambitious and frustrated screenwriter to a man with conflicted feelings towards Norma, a man in love with Betty Schaefer, and then an observing narrator. Norma’s loyal butler and former husband, Max Von Mayerling, is portrayed by Robert Grubb, a well-known name in Australian theatre. His stage presence gives a sense of authority, sophistication, and loyalty, mirroring his years of service and mysterious relationship with Norma. The young ambitious screenwriter who became Joe’s love interest, Betty Schaefer, is played by Asheligh Rubenach. She is delightful in the role, effervescent and sweet, demonstrating a fine contrast to the fading star, Norma. The overall theatrical experience is richly enhanced by the combination of Lloyd Webber’s brilliant score and a live orchestra under the masterful direction of Paul Christ.
The cast of Sunset Boulevard is rich with an abundance of talent. Theatrical performer Jarrod Draper playes the role of Artie Green, Betty’s fiancée. Paul Hanlon and Troy Sussman respectively play Cecil B DeMille and Sheldrake. The brilliant ensemble cast also includes Regan Barber, Amy Berrisford, Billy Bourchier, Campbell Braithwaite, Benjamin Colley, Grace Driscoll, Madison Green, Peter Ho, Leah Lim, Mary McCorry, Charlotte Page, Morgan Palmer, Caity Plummer, Taylor Scanlan, Tom Sharah, Lisa Sontag, Riley Sutton and Dean Vince. Set and Costume Design by Morgan Large. Choreography by Ashley Wallen and Musical Supervision by Kristen Blodgette.
Sunset Boulevard remains relevant today where people are obsessed with celebrity culture, the pursuit of success, the price of living in a world driven by illusion, and the desire for validation. Other themes include aging, loneliness, and the loss of relevance, they each speak universally to the human experience.
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.
