Blood in the Water

Blood in the Water

Blood in the Water Rating

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6

Playwright Jorja Bentley has authored a gripping and provocative theatre show with ‘Blood in the Water’. The show comes laden with content warnings: sexual violence, violence against children, & domestic abuse. Despite these hard-hitting themes, ‘Blood in the Water’ is also truly hilarious.

The show begins with the mother (Ruth) and daughter (Jen) engaged in verbal sparring about Jen wanting to go glamping with her friends on the night of her mother’s birthday dinner. The stepfather (Reuban) offers to drive Jen to both as a negotiation, then soon after receives a phone call that alters the course of their domestic life.

It is revealed that Ruth’s son (Jen’s brother) has been arrested for raping his girlfriend, Anna. Ruth’s sister, Sal, becomes Jen’s trusted ally in the family, where both were kept in the dark about Ruth and Reuben, knowing that there was concrete evidence against Ruth’s son; he had filmed it. The footage is leaked, and the son is sentenced to 4 years in prison.

Ruth and Sal had grown up with an abusive mother, and questions of nature-nurture and victim-perpetrator are explored. Sal’s liberal, outspoken character contrasts with Ruth’s uptight persona and the picture of suburban domesticity we see in her and Reuben’s home. Reuban is concerned with appearances and how this news will affect his political career.

Ruth desperately tries to avoid the reality of what has happened, seeking absolution for her son. Sal and Jen feel a sense of betrayal at Ruth’s avoidance of acknowledging the enormity of her son’s wrongdoing. The play follows each family member over the course of a year as they grapple with the weight of the son’s conviction and the choices they must make moving forward.

Mia Tuco, Chris Koch, Lana Schwarcz, & Karlis Zaid have fantastic stage chemistry and deliver the play with the authenticity it deserves.

Fantastic one-liners bring levity to the gravity of the subject matter being explored. Aspects of modernity are interrogated through quick-witted quips and satire. With notable lines like “You know I don’t study on Sunday. Sundays are for procrastination and existential dread.”

Sal and Jen’s honest relationship offers solace through this time. Humour and transparency bring the two characters closer together and provide safety and opportunities for healing.

Paralleling them both, and where this play is both confronting and entertaining, can the mother accept that she can both detest her son’s behaviour and love him? Jen’s boundaries are more marked, but can she offer support to Anna and still miss her brother? We see the care and concern she harbours below the surface.

Blood In The Water runs at the La Mama Courthouse from Jun 20 – Jun 30 to the following session times and runs for 100 minutes, including interval:-

  • Wed: 6.30pm
  • Thurs, Fri: 7.30pm
  • Sat: 2pm, 7.30pm
  • Sun: 4pm
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Shrapnel

Shrapnel

Shrapnel Rating

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6

‘Shrapnel’, performed by Natalie Gamsu at Fortyfive Downstairs, is a distinctly charming recital depicting Gamsu’s life from being a young Jewish girl living in Namibia to performing in underground cabaret venues in Johannesburg to her life in Australia. Written by Natalie Gamsu and Ash Flanders and directed by Stephen Niccolazoo, the show is tastefully pertinent and yet totally unique.

The show runs a little over two hours without intermission, as Gamsu pulls the audience through a series of personal chronicles, beginning with her experience as a young Jewish girl dreaming to break free from the humdrum reality of her parents and the restrictive culture she was raised in.

In her opening ballad, Gamsu sets the scene – she is a hopeful young woman pursuing the world and all its wonders. The audience warms to Gamsu as she connects with every pair of eyes in the auditorium, one by one, before amusing the audience with tales of her love for exoticism through animated dialogue.

Gamsu bravely dives head first into describing experiences in matters often unspoken and outlawed as taboo. Her performance evocatively retells deeply personal experiences involving struggles with negative body image, her journey navigating a neurological health condition, and serious contemplations of suicide.

She recalls her experience being the daughter of a white Jewish family during South African apartheid, her love and loss of the black servants who raised her, and the diabolical persecution she witnessed within her community. Gamsu brings authenticity to her stories, which are so painstakingly well-written and delivered with a unique wit, allowing her audience to relax into her two-hour-long recital fully.

‘Shrapnel’ is performed in a way that dignifies Gamsu’s deepest secrets and induces the audience into bursts of laughter through a series of self-deprecating anecdotes and colourful descriptions of her favourite influential figures. Among the most memorable of these are her peculiar first casting agent in Cape Town and the eccentric directors of a cabaret club in Johannesburg.

As the recital nears a close, Gamsu describes a fond, long-awaited love from her mother amid her battle with dementia before closing her performance with ‘A Song For You’, affording herself a well-deserved and heart-felt standing ovation.

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Spanish Film Festival: A Ravaging Wind

Spanish Film Festival: A Ravaging Wind

Spanish Film Festival: A Ravaging Wind Rating

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‘A Ravaging Wind’ is the story of a young girl, Leni, who travels with her preacher father, Reverend Pearson, around towns in rural Argentina.

He is an evangelical preacher spreading the word of God and healing sinners. It is a coming-of-age film about Leni as she is trapped in a lifestyle not of her choosing. Argentine director Paula Hernández starts the film as a road movie as we follow them from one church to another.

As they are heading to their next sermon, we start to see more of the character of Leni, played by Almudena González. As she runs errands for her preacher dad, Alfredo Castro, you start to see the doubt in her mind about the direction of her life. On the road, their aging car breaks down, and they are taken, car and all, to a local mechanic out in the middle of nowhere.

Spanish Film Festival: A Ravaging Wind

Here they met Gringo the Mechanic, played by Sergi López, who is opposed to faith and his son Tapioca, played by Joaquín Acebo. Here, we have a similarity between the two families, both being teenagers brought up by their fathers.

As the car is repaired, Reverend Pearson decides he wants to save Tapioca; in fact, he becomes obsessed with trying to save the lad. This echoes with Lenis in the story.

The quality of the acting really makes this movie stand out. Without it, the film would have been a slow-moving road movie. The cast seems to understand the characters and what the director requires of them. It’s a really nice ensemble piece and worth watching. I give it 4 out of 5 stars.

The Spanish Film Festival runs through June-July, 2024 in Adelaide, Brisbane, Byron Bay, Canberra, Melbourne, Perth and Sydney.

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Spanish Film Festival: Un Amor

Spanish Film Festival: Un Amor

Spanish Film Festival: Un Amor Rating

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Un Amor is a delirious dive into the torment experienced by a young woman who walked away from the stress of her work interpreting the tragic stories of refugees and moved to La Escapa, a small village deep in the Spanish countryside, only to be thrust into a story almost as horrible as the ones she was running away from.

Multi-award-winning and multi-lingual Spanish director Isabel Coixet co-wrote and directed this searing drama, told with interspersed flashbacks to the horrors of her previous work, paralleling her descent into indecency.

The cinematography is often breathtaking, showing the scope and beauty of the region and vividly bringing life to Nat’s mixed emotions. The villagers’ characterisations, foibles, intrigues, and veiled love triangles are all treated with gusto. There’s a delightful smorgasbord of humanity on display.

In a dilapidated house with an abused dog thrust into her care, thirty-year-old Natalia, or Nat (Laia Costa), faces overt hostility and sexist micro-aggressions from her landlord and covert hostility from nearly all her neighbours. Initially wooed by a slightly older man who demonstrates an artistic sensitivity with stained glass, she demurely dismisses his overtures.

Spanish Film Festival: Un Amor

Then after an extraordinary encounter, Natalia reluctantly gives in to an awkward illicit proposal from her brutish neighbour Andreas (Hovik Keuchkerian) so as to have her dwelling refurbished somewhat and made into a more liveable space. In so doing, she succumbs to a passion that punishes her and causes her to see who she really is.

The film is based on Sara Mesa’s bestselling novel of the same name. The Spanish newspaper El País named it Spain’s 2020 book of the year. Un Amor has been described as a bittersweet and striking exploration of gender roles, love, obsession, and desire.

It deftly deals with some eternally fundamental and gripping questions that have plagued humanity. What is love? Are we sexual in nature? It’s a disturbingly frank look at the dynamics of gender politics and sex as a commodity.

John Holland of Screen Daily, a website providing a real-time view of the film industry, said the film was sometimes “redolent of Coixet’s very best work.” Guy Lodge of Variety, a website featuring entertainment news and reviews, considered the film to be a return to form for Coixet.

In two top ten lists of Spanish films, it ranked 2nd (El Español) and 10th (Mondosonoro).

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