French Film Festival: The Edge Of The Blade

The Edge of the Blade

Ooh la la—it’s time for the 35th Annual French Film Festival. This year’s festival runs from 5 March to early to mid-April, depending on where you live. So, stock up on your favourite French treats, French Fries, Croissants, Baguettes and Escargot, and get into the spirit of this film festival. I was lucky to start the festival with a French Musketeer-flavoured film, “The Edge of the Blade.”

Set in Paris in 1887, The Edge of the Blade (French: Une affaire d’honneur) explores a world where duels have been officially outlawed but continue to be a regular practice as the only possible way to defend one’s honour.

Clement Lacaze, a fencing expert, desperately tries to prevent his nephew from engaging in an uneven duel with more experienced Colonel Berchere. Meanwhile, Marie-Rose Astie de Valsayre, a feminist fighting for women’s equality, challenges the notion that honour is solely a male affair. The movie effectively portrays various forms of duels, making it a highly conceivable experience.

The Edge of the Blade is Vincent Perez’s fourth feature, and he acts as both director and actor in his latest flick. Perez plays the film’s antagonist, Colonel Berchere, who defends his honour by duelling the main antagonist, Clement Lacaze (played by Roschdy Zem), and his nephew, Adrien Lacaze (played by Noham Edje). Doria Tiller appears as real-life feminist Marie-Rose Astie de Valsayre. Although interesting, seeing her life story depicted in her own movie would be additionally pleasing.

The Edge of the Blade

The Edge of the Blade is a fascinating look into a part of history that is uncommon today. It delves into the craze of duels and themes of honour and justice. The film also displays a backdrop of impending war and societal changes. Fight scenes are skillfully choreographed, and the production design adds to the film’s historical authenticity.

The Edge of the Blade captures the tension of a bygone era, where honour, pride, and equality intersect. Vincent Perez’s direction and acting contribute to a film that balances action, drama, and historical context. If you appreciate period pieces and enjoy a touch of swashbuckling adventure, this film is worth exploring.

Don’t go at a snail’s pace—check out The Edge of the Blade at this year’s Alliance Francaise French Film Festival before time runs out in April. Films and film session details are on the official French Film Festival website.

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre to see what else is on in your town.

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Carlotta: The Party’s Over

Carlotta: The Party's Over

Part of the lure of seeing an entertainer, the self-proclaimed and well-earned title of the ‘Aussie living legend’ Carlotta AM, is the hope that the show will be fabulous. And that plenty of sequins, feathers and bright costumes will adorn her – and Carlotta did not disappoint.

She burst onto the stage to thunderous applause and cheering from the audience, wearing a black outfit covered in dazzling diamantes and dark feathers for her show, The Party’s Over.

It seemed this title implied Carlotta would retire, yet in her own words, she would perform until the day she can’t, as retirement would be too boring. Carlotta has had a long and varied career, and it seems she isn’t going to quietly exit showbusiness to drink cups of camomile tea and knit!

The musical director, Helpman Award winner Michael Griffiths, accompanied Carlotta on the piano, singing some songs alongside her. Michael brought a polished charm to the stage. Also on the set were two talented musicians playing the bass guitar and drums.

The Hayes Theatre is a small venue that allowed Carlotta an evening that seemed an intimate performance, and at times, she exuded warmth and felt like she was friends with everyone in the audience. Indeed, she did have some friends in the audience, and she kindly gave a shout-out to her one-hundred-year-old friend and another friend in the biz with whom she had previously worked.

Carlotta has a quick sense of humour and injected a lot of levity into her show. No one was safe from her witty remarks, especially not the front row, who traditionally were targets for a comedy show! No topics and no people were off limits, even the ex-PMs, a certain broadcasting studio whose security was exceptionally high, “millenniums”, and even her own self, making light of her age and that it was a “hideous age” she was currently at.

She made everyone laugh when alluding to keeping up with the demands of performing standing up for long periods when she was in her eighties and feeling too hot in her costumes. (She had three costume changes, each as captivating and fabulously outrageous as the last, complete with tall, sparkly headpieces and gigantic feather fans).

Carlotta’s singing voice was strong and robust, and she sang classics such as I Write the Songs, My Way, and I Still Call Australia Home. She had the audience singing along, clapping, and swaying in their seats.

Scattered throughout her show, Carlotta reminisced about different parts of her life. She had performed in Les Girls in Kings Cross for almost 30 years, followed by a career in television. She gave a condensed version of the history of Kings Cross and how lovely it used to be, with a good reputation where people from overseas wanted to come to dine at the Bourbon and Beefsteak pub and see shows at the Les Girls nightclub.

Carlotta is a seasoned performer comfortable in her own skin. She is an advocate for the LGBTIQ+ community, leaving the audience with a message to always be yourself and not be silenced on your thoughts because – “darlings, life is too short.”

Running Time: 75 minutes, no interval
Performances: 28 Feb -3 March 2024
Hayes Theatre 19 Greenknowe Ave, Potts Point

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre to see what else is on in your town.

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Riders – Europa Festival Film Review

Riders - Europa Festival Film Review

The Europa Film Festival is in full swing in Melbourne and Sydney, offering me the perfect opportunity to review the Australian Premiere of Slovenia’s Riders.

Directed by Dominik Mencej, Riders was Slovenia’s submission for the Best International Feature Film Academy Award and this, its Australian premiere, forms part of the Europa Europa film festival running from Feb 15th to Mar 11th.

Set in the spring of 1999 in Slovenia, the film follows two friends from a small village. Inspired by their love of Easy Rider, they travel cross-country on their souped-up mopeds. Anton (Petja Labovic) is seemingly on a quest for his ex-girlfriend, and Tomaz (Timon Sturbej) is seeking truth and acceptance. They are joined along the way by the enigmatic Ana (Anja Novak), who is trying to travel cross-country for reasons of her own, and elder bikie Peter (Nikola Kojo), a father figure and older version of Anton.

Riders - Europa Festival Film Review

The performances are nuanced and authentic, with Tomaz and Anton sharing equal billing in their journey. Tomaz, with his gentle demeanour and unwavering loyalty, becomes the unsung hero of the journey, while Anton’s fiery spirit and impulsive actions add a layer of unpredictability. With her mysterious allure, Ana redirects their path towards the seaside, a twist that enriches their voyage. The initially tense relationship between Anton and Peter evolves into a believable mentor-protege bond, adding another layer of emotional depth to the story.

Mencej masterfully controls the film’s pacing, allowing audiences ample time to engage with each character’s development and the group’s interpersonal dynamics. This deliberate storytelling showcases the complexity of their personalities and mirrors their internal quests for identity and belonging.

At its heart, “Riders” is a meditation on the search for self, brilliantly symbolized by the protagonists’ journey across Slovenia. Is there any better way to do this than to jump on your motorbike and journey across the country?

We glimpse love, jealousy, anger, tragedy, a hint of romance, and redemption of a kind that culminates in a conclusion that satisfies but remains open-ended at the same time, inviting us to ponder the characters’ futures.

This is an excellent film with a simple premise about the ever-elusive quest for truth, portrayed with depth and authenticity.

This film gives us a small snapshot into another time and another country far removed from Australia but remains timeless in terms of the human experience. We’ve all had our seminal moments, and this film encourages us to reflect on our own journey, the personal truths we’ve uncovered along the way, and ponder those that still remain hidden from our view.

I wholeheartedly recommend “Riders” to anyone attending the Europa Film Festival.

For Sydneysiders, this film can be viewed at the Ritz Cinema in Randwick on the 18/2 and 3/3 at 5:15pm.

For Melbournites, this film can be viewed at Classic Cinemas, Elsternwick, on 18/2, 29/2 and 8/3 from 5:15pm.

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre to see what else is on in your town.

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Send For Nellie

Send For Nellie

The opening night of ‘Send For Nellie’ is a bright and deeply captivating performance celebrating and commemorating the life of Sydney’s own cross-dressing cabaret queen, Nellie Small.

Rich with history, soul and laughter, Alana Valentine’s research into Nellie and her stage presence was well executed by performers Elenoa Rokobaro and Eleanor Stankiewicz, the incredibly talented musicians Maria Alfonsine, Camilla Bellstedt and Wollongong local Jodie Michael, and director Liesel Badorrek.

Elenoa Rokobaro brought Nellie Small to life with grace and power. Her vocals boasted of control and an enjoyment of the craft. Rokobaro captivated the audience, whether jazzy or mournful, throughout each song, and it was difficult to look away.

Her scene partner, Eleanor Stankiewicz, should be commended for her commitment to each character she transformed into. With hats and jackets as the sole means of a character change, Stankiewicz put everything into the physicality and vocal performances of the people in Nellie’s life. Right down to the way a certain character would sit or walk or even hold their hands when listening to Nellie perform, there was never any confusion as to who was on stage with Nellie at the time.

The hilarity of movement and costume choices contrasted with the authentic conversations and laws of the 1930s and 40s in Australia. Using clown noses and vaudeville choreography made those scenes and the following songs more powerful.

Clearly, each person on stage was having a good time, which encouraged the audience to be consumed by the story. The set up of cabaret tables directly in front of the stage and the performers moving through the crowd at different times allowed for an immersive experience. From the get-go of the theatre doors opening and jazz music playing softly from the speakers, it was like stepping back in time to a smoky jazz club and waiting to hear the shouts of “Send for Nellie!” in order to salvage a performance.

This performance, however, needed no salvaging. ‘Send For Nellie’ is a moving story of a cross-dressing, gender non-conforming, black Australian woman pursuing her passion in show business and is backed by more multi-talented women. ‘Send For Nellie’ is a good time from start to finish. The entire creative team should be very proud of themselves.

Tickets are available to see ‘Send for Nellie’ at the Illawarra Performing Arts Centre via the link below.
Performance Times: Thu 15 Feb, 6:30pm; Fri 16 Feb, 7:30pm; Sat 17 Feb, 1:30pm &7:30pm
Where: Bruce Gordon Theatre–Illawarra Performing

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre to see what else is on in your town.

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