The Last Paradise On Earth

The Last Paradise On Earth (Scandinavian Film Festival)

The Last Paradise On Earth (Scandinavian Film Festival) Rating

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A lot of people say the grass is greener on the other side. But what if, despite everyone else turning their back to it and telling you to do the same, you were perfectly happy with the hue of your green.

The Scandinavian Film Festival is ready to set sail across Australia. And with it The Last Paradise On Earth, Directed by Sakaris Stórá, glides in to dock.

This touching Danish drama film centres on Kári (Sámal H. Hansen), a kind and bashful young man, who calls the Faroe Islands home. On one of those remote islands he spends his quiet days working at the local fish factory and trying to connect with his sister, Silja (Bjørg B. Egholm), both of whom have been struggling since their mother passed away.

With the increasing pressure of the factory potentially closing and their father’s sudden leave for work on the sea, Kári must do what he can to keep his and Silja’s life afloat, all while discovering his own path forward.

The story is a hunt for belonging and finding a sense of self in hard times. Like many people these days, the doubt of if you are in the right place and doing what you should be doing with your life feels very relatable.

 

 

It seems that everyone in the village is either leaving the islands for a better, more exciting lifestyle, or incredulous that Kári isn’t. The constant force upon him becomes overbearing at times, and puts you right into his shoes of getting fed up with the repetitive questions, yet also second guessing his purpose in life.

The consistent pace of the film allows you to become familiar with the island’s day to day routine, as if you’re living the days along with them. But never feels monotonous as you see Kári becoming himself in the calming nature surrounding him, appearing comfortable only when out in the fresh elements and birdsong.

In the breathtaking setting of the Faroe Islands, it’s hard to think anything could stand out from the gorgeous mist ridden mountains and colourful Scandinavian houses – yet the emotions that echo through the land are a big takeaway from the film.

Both Hansen and Egholm bring a melancholic beauty to their characters, where you can be pulled into their emotions just from a glimpse into their eyes. Through their engaging portrayals you could easily be fooled into believing it’s their real lives and relationships you’re seeing on screen.

As you continue to watch Kári and Silja piece together their identity and relationship with each other, even in spite of the remote location, the film charms you into feeling right at home with your own emotions. Because of that, the fresh island air of melancholy and delightful visuals make The Last Paradise On Earth a delicious Danish treat.

To book tickets to The Last Paradise On Earth (Scandinavian Film Festival) , please visit https://scandinavianfilmfestival.com/films/sca25-the-last-paradise-on-earth.

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More Than Just A Dance Performance

Mother Nature An Arena Spectacular

Mother Nature An Arena Spectacular Rating

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11

The lights drop, plunging the stage and audience into darkness. The only sounds to be heard are excited, wriggling young audience members and the tap of the shoes onstage as the band makes their way to their instruments. A booming voice echoes throughout the arena …

The Australian Calisthenics Theatre Company (ACTC) bring to life a vivid story through dance, song, and light. Over the course of six scenes, the audience is introduced to the elements that make up Mother Nature: earth, fire, water, wind, light, and sun. Each element has a lesson to teach Mother Nature so she may grow into who she is meant to be. Each scene focuses on one element, and the choreography beautifully represents the emotion and inner turmoil Mother Nature experiences with her time spent with the element, as well as the element herself.

I say ‘the element herself’, because each of the elements are powerful women and girls, showcasing their hard-earned strength, athleticism, control, and finesse. For fans of calisthenics, you might be questioning if Mother Nature feels like a competition. It does not – you still get your typical march, free exercise, graceful, rods, and clubs, but this is a story, so each category melts together to bring a beautifully aesthetic performance carefully crafted to make you gasp, cry, sigh, and smile.

 

 

The lighting swirls on both stages, the colours reflecting the element speaking with Mother Nature, from a cooling green-blue to an almost alarming orange-red, and every colour in between. The lights roll and dance as though they are part of the ensemble, while the screen at the back of the stage rotates through images which reflect, and match, both the lighting and the dancers. Undulating lights breathe life into both of the stages, not only giving it life, but weaving into the story.

Unlike an average dance performance, Mother Nature not only boasts a double stage connected by two runways, but also a live band and singers. JD Smith (one of the Ten Tenors) was a visiting performer, pairing his vocals with female singer Chloe Castledine and ‘The Cast’ orchestra. The musical score is an original soundtrack for Mother Nature; inspired by the elements, each song carries the audience through the chapter, evoking emotion and a depth of emotion the likes of which was Broadway-worthy. Some of the songs were, in fact, Broadway songs, so remember to keep an ear out and you might find yourself admiring the Stars, while Defying Gravity and gazing Into the Unknown. Excerpts and covers of popular songs from Sam Smith, Lada Gaga, and Celine Dion also sneak their way into the performance, among many others, winding and melting together seamlessly.

The performance is so enrapturing that after two scenes, you couldn’t blame yourself for not realising the performers had already changed costumes multiple times. While Mother Nature has her signature look, each element has a leotard leaning closer to a work of art, and the ensemble joins with dazzling complementary pieces. The leotards boast thousands (if not hundreds of thousands) of jewels, gems, and beads, shimmering with every breath under the light.

The story of Mother Nature is one of strength, of perseverance, and hope. Inspiring not just to women, but all genders. Mother Nature celebrates storytelling, music, and life through dances designed to take your breath away and leave you full of wonder.

To book tickets to Mother Nature An Arena Spectacular, please visit https://www.auscalisthenicstheatre.company/whats-on/mother-nature.

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The Mountain – Fjallið (Scandinavian Film Festival)

The Mountain (Scandinavian Film Festival) Rating

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Director and Screenwriter Ásthildur Kjartansdóttir’s third full length feature is about grief, dealing with loss, guilt and growth. Filmed in the sparse beauty of an Icelandic autumn, it is a cosmic journey that handles these themes with sombre grace in this excellent film well worth the audience’s engagement.

Set in the port town of Hafnarfjörður, a town outside Reykjavík, Maria (Sólveig Guðmundsdóttir) an Astronomer, has planned a family trip to the highlands of Iceland to photograph what she hopes is a comet. When the weekend arrives however her husband Atli (Björn Hlynur Haraldsson), a one-time guitarist but now an Electrician stuck on a job with a client he despises, informs her that he has to work all weekend. Their nineteen-year-old daughter Anna (Ísadóra Bjarkardóttir Barney), an aspiring Musician, also informs her mother that she can’t go because her band will be performing on the weekend. Maria travels by herself but has an unfortunate accident and dies, which triggers a path of grief and guilt for both Atli and Anna. It also starts them on other paths as they deal with her loss.

Björn Hlynur Haraldsson, probably best known in Australia for his role as Pétur in the outstanding Lamb (2021) and as Dries in Northern Comfort (2023) shines in the role of Atli. Haraldsson’s portrayal of the grieving husband on a personal journey deftly depicts the wide range of emotion that Atli transverses in a very skilful manner.

 

 

The role of the daughter, Anna, is correspondingly exceptionally portrayed by Ísadóra Bjarkardóttir Barney. The Mountain – Fjallið marking her debut in a major film role, having previously played the minor role of Melkorka in The Northman (2022) (which also featured her actual mother, Musician/Actor, Björk, as Seeress, the blind sorceress). The scenes with Björn Hlynur Haraldsson outstandingly highlight the father and daughter relationship in crises.

The other roles of the mother, Maria, played by Sólveig Guðmundsdóttir, and Anna’s boyfriend Kári played by Vilberg Andri Pálsson are also portrayed very well as are the other roles by all the cast. Cinematographer, Bergsteinn Björgúlfsson, takes full advantage of the light and shades of the Icelandic landscape. For the indoor scenes he impressively utilises outside natural light as a focus for the action of the scenes.

The Mountain – Fjallið is the first officially vetted sustainable production in Iceland noted for “marking a significant milestone and contributing to the establishment of a standard for sustainability in the Icelandic film industry”, and has been awarded the prestigious Green Film Sustainability certification.

Although only her third full length feature film, Ásthildur Kjartansdóttir is a veteran Director of Photography, Producer, Sound, Editor, Script Supervisor, Writer, and Producer, The Mountain – Fjallið sees her at her peak power in this first-rate film. If the rest of the films in the Scandinavian Film Festival are of this standard, then it will be an outstanding Festival.

Reviewed by Rob McKinnon

Rating; 8 out of 10
Genre: Drama
YouTube trailer: https://scandinavianfilmfestival.com/films/sca25-the-mountain

To book tickets to this, or any films in the Scandinavian Film Festival, please visit https://scandinavianfilmfestival.com.

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Querencia Calling

Querencia Calling

Querencia Calling Rating

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For the first time PitchWhite Productions’ latest play is not written by PitchWhite’s founder Lochie Daniel but instead the company has embarked in a new direction of performing the works of other writers as well as Daniel’s plays and Querencia Calling is the launch of this change.

Querencia Calling is Writer Sharyn Henderson’s first full-length play. Her passion for theater began in 2023 writing and performing monologues and short plays in a “rehearsed reading” format with the Scratch Night writing program in Sale, Gippsland. During the writing Henderson collaborated with dramaturg Brooke Fairly through Melbourne Writers Theatre’s Page to Stage program and this partnership has produced this first-rate debut. With this splendid material local directorial stalwart Geoff Brittain (fresh from productions with the Therry Theatre, St Jude’s Players, The Adelaide Repertory Theatre and others) does a very good job in coordinating it with the outstanding cast in the space allowed at the Star Theatre.

 

 

The play draws forty-something long term friends Clare (Alicia Zorkovic), Belinda (Georgia Stockham), Meredith (Perrin Abbas) and Simon (L. A. Foale) back together in a bar after being separated for a period of time. Clare has just returned from nursing in England, Meredith has been promoting her latest novel, Belinda has been juggling the needs of four children and her husband and Simon is fresh from a relationship breakup. In their reunion the friends are missing Emma (Cheryl Douglas), who has been the glue of the group, helping each of them in many ways throughout the length of their friendships. They look to Emma’s closest friend in the group, Belinda, for an explanation for Emma’s absence but, with annoyance of Emma missing Belinda’s son’s eighteenth birthday party, she doesn’t know what has happened. Emma invites the friends to her family-owned cabin for the weekend which they accept to find out what has happened to their friend.

The limited space of the Star Theatre doesn’t hinder the flow of Querencia Calling, instead it brings the audience closer to the actors in a more intimate fashion. Sometimes productions of this nature can clank around the empty spaces of larger halls. Similarly, due to the confines of the space, the set is kept to a minimum however limits of the staging are overcome by the skills of the actors. Georgia Stockman is outstanding in her loud and bold portrayal of Belinda. L. A. Foale is also very good as Simon and the rest of the cast handles all of their roles well.

The songs used in addition adds to the reunion feel of the production incorporating REM’s Losing My Religion, Spice Girls, Shania Twain, Chumbawamba, Los del Rio’s Macarena and others.

Sharyn Henderson says her “play is about human connection. It urges us to listen – both with curiosity and kindness – to what is said and left unsaid.” Geoff Brittain says the play reminds “us of the power of connection to lighten even the heaviest of loads.” Querencia Calling is excellent and is definitely worth seeing before the end of its limited season.

Reviewed by Rob McKinnon

Rating; 8 out of 10

Querencia Calling runs to 28 June 2025; remaining session dates and times are as follows:-

– Thursday 26 June 2025 7:00 PM – 9:00 PM
– Friday 27 June 2025 7:00 PM – 9:00 PM
– Saturday 28 June 2025 1:00 PM – 3:00 PM
– Saturday 28 June 2025 7:00 PM – 9:00 PM

To book tickets to Querencia Calling, please visit https://www.trybooking.com/events/landing/1385333.

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