My Melbourne—aahhh, I love that city; it is vibrant, alive, and pulsing with stories. Joyfully, that is what the film My Melbourne also presents to the audience: four main characters at a turning point in their lives… an intimate brief look.
The cinematography has few flaws, and the short films blend effortlessly, thrusting the viewer into the middle of a new story. All stories are relatable to the viewer: the parents’ disappointment in their son’s life choices, the marriage that sees the culture questioned, the talented dancer with a progressive disease, and the refugee with the burden to be successful.
But what is human nature if not a trial and a fight to succeed? These stories are about hope, acceptance, fulfilment, and belonging. They are beautifully brought to life, each with elements of truth based on real-life experiences.
It’s well worth a trip to the cinema so you can sit and enjoy, feel real-life emotions, and feel a sense of gratitude. What happened to bring these characters to this point in their lives, and where do they go from here?
My favourite was the story of Setara—the interaction between her, her sister, and her mother didn’t need translation. The glimpses of her father were meaningful and moving. This would be a movie I would enjoy on the big screen or the television.
Keep an eye out for the screenings of My Melbourne, which will be released in Australia on March 6. Take a good friend and a box of tissues just in case. For more information about the Indian Film Festival of Melbourne, please visit https://www.iffm.com.au/.
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.
If you thought running in heels was tough, imagine running in a pair of thongs…while trying to outrun border security…on a moving baggage carousel. No need to do it yourself, though, because Johnny ‘Spit’ Spitieri absolutely nails it in this fresh Aussie flick.
In this follow-up to Aussie Action/Comedy hit Getting’ Square (2003), we get to reunite with our beloved side character & ex-heroin addict, Spit (David Wenham). Last we saw of him, Spit was stuck in the middle of trying to appease a corrupt cop, a criminal kingpin, and an agent from the Criminal Investigation Commission. Leaving them (and his crippling debt) in the dark, he faked his own death and fled to Israel to…well, as the predecessors title will tell you, get square.
Picking up 20 years later as he re-enters Australia, still rocking the women’s jeans and perhaps too laid-back attitude, Spit is now off the gear and looking to restart his life. But it seems suddenly coming back to life ruffles more than a few feathers with old associates.
Where on one foot Spit seems like perhaps the most idiotic person you could ever meet, he’s seen by people on the other foot as being a criminal mastermind. So watching the game of cat-and-mouse from both extremities, particularly in moments where they are quickly intercut together, is absolutely hilarious.
As with any great comedy, the story has a lot of heart and each character is played completely seriously, which makes daggy Spit all the more entertaining. Fear stood on end any time Chicka (Gary Sweet) graced the screen, and so much joy came from the relationships Spit made with the refugees at the Immigration Detention Centre.
The whole cast of refugees, many of whom are true refugees/offspring of immigrants themselves according to Wenham, gave a depth to the film that was hugely memorable. Particularly Arlo Green (as Jihad), who played such a beautiful soul that both saw, and brought out the heart in Johnny Spit himself.
A few scenes that hung on a little too long and minor characters that didn’t feel essential (the recast of the late-great Richard Carter, a not-so bright lawyer, and the Tik Tok dancing daughters) were easily bypassed for the joy that surrounded them. Drowned out also by the striking punk/rock soundtrack that added to the grittiness and almost nostalgic feel of the film – thanks to local Australian bands such as Frenzal Rhomb and Amyl and the Sniffers.
Many people are quick to roll their eyes at the mention of a sequel, but this one feels well-earned. With a majority of the cast and key crew returning after 22 years, you could tell that it meant a lot to them and that they felt it was essential to revisit the world.
What stood out from the first instalment was that Spit injects a lot more emotion and had some real shocks that that left a lot of people feeling elated at its conclusion. And for fans of the previous film, don’t you worry, there is still a stand-out courtroom scene and plenty of close-up thong shots to get all you Quentin Tarantino sorts excited.
Spit truly got a chance to be rubbed in and become shiny, creating easily one of the best comedies Australia has produced in a while. It is worth supporting in cinemas, and thongs crossed that we get to see more home-grown comedies like this in the near future.
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.
It’s easy to look at a film made by a recent high school graduate, raised either looking down the barrel of a phone camera or haphazardly pointing it at others, and assume they simply don’t know any better. But it quickly becomes apparent that this is not the case at all. There are a lot of things in Telesia that you discover in sitting with her for just 20 minutes as she recounts her relationship with the Chinese language, Polynesian identity, social empowerment, and cross-cultural connection. She’s a polyglot, extremely intelligent and fiercely creative, a leader in her community, and above all, a kind soul.
Telesia 2 the World is directed and edited by Telesia Tanoa’i, a young Samoan New Zealand woman with an international view of the world. While at home, Telesia has become a leader in youth advocacy, cultural representation, and climate activism. Growing up, living and travelling abroad imbued Telesia with a natural curiosity and interest in the world, particularly through the lens of the Chinese language. The home-movie clips we open with see child Telesia showcase her natural jubilance and confidence as she explores with her parents.
Returning home and entering her teens, she begins to use her sense of humour and creativity to make videos for TikTok, while acknowledging the difficulty in maintaining language practice. Motivated by her Chinese language teacher at school, Telesia enters the Chinese Bridge Language Competition. The film comes alive as Telesia’s efforts see her travel to China to compete in each stage of the competition. The sights from her bus and the vlog posts she records are brightened by the array of rich colour in Chinese architecture and gardens, as well as Telesia’s beaming smile.
You’ll see Telesia speak about how nervous she is as she takes to the stage in front of an international audience. Not only does Telesia showcase her ability to converse and orate in Chinese; the combination of Telesia’s linguistic capabilities and musical talent make her an exciting competitor. Nothing about her presence on stage suggests the anxiety she internalises – Telesia projects coolness and confidence in front of a crowd. When she speaks directly to the audience in her ‘interview’ segments, you have the chance to see that warm and empathetic side of her on full display.
It’s because of this empathy that Telesia manages to overcome the challenges thrown her way. She carries the spirit of her culture and family with her, proudly wearing Maori-designed clothing and continuing to advocate for her home across international borders. The power of trans-linguistic communication is shown full force in a clip where Telesia introduces her competition roommate, Arwen from Malaysia. The two speak in Chinese, their friendship overcoming the language barriers that might usually challenge two people from across the world connecting with each other in such a powerful way. This theme runs throughout as Telesia celebrates the success of her competitors, people who she has come to regard as international friends through their shared love of Chinese language.
Now, Telesia has graduated, and her film has premiered. If this is any indication of her future, Telesia is sure to accomplish a lot. If you’re in doubt about the state of the world – international tension or the alarming increase of global temperatures – spare half an hour to see what our future leaders are already accomplishing as you follow Telesia on her journey to the world!
Let’s cut to the chase. If you like musical theatre, this is a must-see. It’s fun, it’s well-paced, and it’s imbued with the kind of effortless charm that you want to find at your friendly local pub.
Set in an Irish-American bar, Fresno explores a slice of life of young bartender, JJ (Jackson Cross) and the ragtag bunch of bar flies that surround him. While the themes and situations in the show weren’t uniquely American, the American setting gave it a distinctly “sitcom” feel and helped establish the stakes and the journey across the evening.
From the moment you walk into Chapel Off Chapel’s Loft, the world is established with a functional set and clever use of neon signs to define the locations. The Loft is the perfect home for this show, allowing the creative team to use the black box aesthetic of the room as an asset rather than a hindrance. I’ve definitely been in bars and pubs like this!
The music feels like a love letter to musical theatre, with clear nods to Jonathan Larson and Sara Bareilles, amongst others. The use of varied musical styles is well-considered, with a familiarity that lets you know what you are supposed to get from that number. Similarly, the book leans heavily on strong character archetypes and recognizable tropes, making it easier to invest in the characters early, knowing exactly who they are.
The cast makes the most of these archetypal characters, especially in the comedic moments and, for my taste, that’s where they shine. So much of the writing is laugh-out-loud funny and the cast settled in quickly to find the pace and timing that the audience responded to. There was an engaging sense of camaraderie and chemistry on the stage that was very appealing. Special mentions to Lachlan Edis and Antoinette Davis for some truly memorable comedic turns throughout the show.
Leading the cast were Jackson Cross, Douglas Rintoul and Naomi Leigh. Cross delivered an impressive balance of heart, comic timing and powerful vocals. He was paired perfectly with Rintoul’s charismatic acting and versatile singing. Leigh, playing an aspiring pop singer, brought a poignancy and authenticity that helped the music shine and made me long to hear this show recorded so I could listen to it on repeat.
Daniel Tusjak (keys), Eve Pinkington (drums) and Cody Leggett (guitar) formed a tight and responsive band and the sound was well-balanced, allowing the audience to revel in the music and engage with the text.
Dealing with themes of found family and the value of community, the writing is light touch with enough heart to keep you emotionally invested but not so deep that the comedic pacing is jarring.
Fresno is a fun evening out that brings all the best elements of “comfort watching” your favourite tv show. Hopeful, life-affirming and genuinely funny, Fresno confirms that Australian original theatre is alive, well and deserving of all the love we can give it. I think we can all drink to that.
