Falling into Place: British Film Festival

Falling into Place

Falling into Place Rating

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Set against the stark backdrop of a bleak Scottish winter, “Falling into Place” invites viewers into a world where two lost souls briefly collide in a bar, igniting a day filled with fleeting joy and profound connection. Directed and written by Aylin Tenzel, who also stars as the film’s emotionally troubled protagonist, the narrative explores the depths of despair and the search for solace in unexpected places.

Tenzel’s character is an artist grappling with the aftermath of a painful breakup, her self-worth at an all-time low. She isolates herself from her family, terrified that revealing her struggles will expose her vulnerabilities. Tenzel embodies this emotional turmoil with a raw honesty that resonates deeply, showcasing her talent as an actress and storyteller.

Opposite her is Chris Fulton, known for his roles in “Outlander” and “Bridgerton,” who plays a man equally enshrouded in grief. His character battles the aftermath of his sister’s suicide attempts and a relationship that has long since soured. Together, Tenzel and Fulton create an intense chemistry that pulses through the film, offering a glimpse of hope amidst their mutual pain. Their connection is not one of idealized romance but rather a bond forged in shared suffering—a recognition of their own self-destructive tendencies.

What sets “Falling into Place” apart is its unflinching portrayal of mental health issues. The film does not shy away from presenting its protagonists in an unflattering light; rather, it embraces their flaws and struggles, allowing audiences to empathize with their journeys. This authenticity is refreshing in a genre often dominated by idealized relationships.

While the film’s pacing may feel slow at times, the emotional weight it carries makes the eventual payoff worthwhile. Tenzel’s directorial debut is a powerful commentary on the healing power of shared experiences, making it a must-watch for those who appreciate intimate, character-driven storytelling.

The British Film Festival 2024 runs from Nov – Dec 8.

To book tickets to this or other films click https://britishfilmfestival.com.au/ for session and venue details.

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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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Kid Sister Film Review

JIFF

Kid Sister Rating

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Kid Sister: What a masterfully funny and refreshing television series.

Created and written by Simone Nathan, who also brilliantly portrayed the lead role of ‘Lulu’ in the series; ‘Kid Sister’ is the kind of comedy I love to watch.

Lulu is a young woman living with her family, who are all strongly connected to a small Jewish community in New Zealand. We soon discover the dilemma she faces between tradition and modern life issues and the drama and comedy of navigating relationships along the way.

There were such strong performances across the entire cast, with each actor portraying their characters honestly but with so much comedic heart.

The comedy was tied in with a strong focus on Jewish traditions. For people like myself who have extensive Jewish ancestry but who are not actually Jewish ourselves, this really kept me captivated not only by the human stories but also by all of the Jewish traditions highlighted. Let’s just say I learned a lot!

 

The overall storyline was somewhat predictable, but Nathan really made the show her own by leaning into the strong focus on the Jewish traditions and family values. That, alongside the tremendously witty humour and extremely strong writing created a unique and enjoyable series.

Having Lulu’s inner thoughts pop in at times as a voiceover truly lent to strengthening the show’s comedic aspect.

Like all good binge-worthy shows, I was left hanging on for each new episode. It really is the kind of show that makes you want to keep watching and learn more about each of the characters and their lives outside of the main storyline.

‘Kid Sister’ really is a brilliant television series. Look no further if you are looking for a comedy that will entertain and keep you engaged. I would watch more of this in a heartbeat.

‘Kid Sister’ is screening in the 2024 Jewish International Film Festival across Australia between October and December. To find out when and where it will be screening in your state, go to: https://www.jiff.com.au/resources/jiff-2024-web-program.pdf

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

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Sydney Film Festival – Aquarius

Sydney Film Festival - Aquarius

Sydney Film Festival – Aquarius Rating

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If you live in Australia, then it’s likely you’ve heard of Nimbin, famous for peace, love, and hippies. But it wasn’t always that way. In 1973, a group of university students from Sydney were looking for a place to celebrate new ideas and counterculture outside the conservative restrictions and government violence of the city.

To do this, they imagined a 10-day festival of art and music and alternate living in a rural setting. The location they finally picked was a small country town in Northern NSW called Nimbin. The rest, as they say, is history.

Aquarius is a new documentary exploring the 1973 Aquarius festival, which not only transformed a small country town into a hippie heartland but also triggered a social movement that changed a generation and is still alive today. Director Wendy Champagne wisely approaches the documentary with a soft hand, relying mostly on archival footage and contemporary interviews with those involved. This helps draw the audience into the experience while not over-explaining or over-dramatizing the event.

Luckily for Champagne and editor Karin Steininger, the festival was well-documented by several film-making collectives and amateur documentarians, leaving a vast library of video, film, and even television material to use. It’s a shame that much of the video footage was either damaged in storage or shot with damaged cameras–I could see the trails of burned-in video sensors damaged by inexperienced film-makers shooting bright lights like the sun–but the film-makers wisely chose to use the footage unaltered and not try to fix it somehow.

Authenticity counts, and the footage is important to tell the story. The editing was well-paced, and the images were always appropriate for the narrative or mood. Original design sketches made by University of Sydney students at the time who helped organise the festival are brought to life through fun, clever animations.

The documentary’s core drawback is establishing its purpose. Why should people care? The film does explore the festival’s impact on subsequent environmental and social movements, but ultimately, it just feels like nostalgia bait for those who were there. It doesn’t really have anything to say to a younger audience apart from repeating how fun it was and that it was historically important. But those claims are never really that convincing.

My screening was mostly occupied by people over 60, many of whom were there. Will a broader audience be interested in some hippy festival that happened back in 1973? I hope so. Aquarius is still a well-made documentary and a satisfying look at a special time in Australian history. It’s well worth your time.

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