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Kid Sister Film Review

2 October 2024 Rebecca Rose

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/

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.

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There’s Still Tomorrow Film Review

2 October 2024 Sophie Donkin

There’s Still Tomorrow Rating

★★★★★

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Let me set the scene for you.

Italy, post WWII. We are being introduced to what one assumes to be another black-and-white, a run-of-the-mill black-and-white post-war movie to doze off to on a rainy Sunday afternoon, panning into a bedroom with a husband and wife waking up to the promise of a new day. “Good morning, Ivano.” And then…SLAP!

Not metaphorically! A big old slap across the face from a husband, Ivano, to his wife, Delia, and whoa! Now we are off!

We’ve just witnessed something horrible; a man slaps a woman across the face, but the reaction it warrants is to burst out laughing. An embarrassed laugh, an unsure laugh, a shocked laugh. The comical, slapstick timing is so perfectly timed and pitched, as the whole film will pan out. Hooray! This film suddenly got interesting.

Directed and starring Paola Cortellesi, a well-respected and much loved Italian actress and comedienne as the main protagonist of Delia along with a perfectly pitched ensemble cast, including Valerio Mastandrea as the horrible husband, and fantastic young actors as their gorgeous teenage daughter and young sons, and her best friend and ally, Marissa.
One almost forgets this is Italy in the second half of the 1940’s. Delia cannot go to a refuge with her children or book an uber out of there.

Delia remains, constantly insulted and belittled, working multiple odd jobs to contribute to the household income, raising the children, running the household, looking after her handsy father-in-law. And then, a mysterious letter arrives, intriguingly addressed only to Delia. What is written in this letter? Who sent the letter? Such a mysterious piece of paper which Delia lets herself smile about and is excited enough about that feels the urgent need to hide away from Ivano.

Then, more good news. Her teenage daughter has the promise of marriage to a well-off son of a local café owner. Exciting new that will make Ivano happy. So happy to shout out to the other tenants in their building from their barely furnished ground floor flat that his daughter will be marrying into a respectable household. Are things finally looking up?

Not to be. We soon come to realise through Delia’s eyes that sadly, old habits are often inherited from generation to generation. Is this young man really a new beginning for the younger generation, or just a younger version of the repressive and threatening husband Delia chose instead of her old flame at the local mechanics who is a gentleman and lets her eat chocolate with him that an American soldier gifted to Delia for her kindness to him.

There’s still tomorrow is a story of repression, domesticity, abuse, survival, love, adversity, and finally, female empowerment. Delicious moments are peppered throughout, when you start to look away as Ivano raises his hand to his Delia, assuming the scene is going one way and then, out of nowehere, a perfectly choreagraphed dance sequence is playing out, like a memory being told that is just so painful that the storyteller is making it more pallatable for the audience. The echoes of West Side Story. And my goodnes, it works a treat.

It is easy to understand how There’s Still Tomorrow was the highest grossing film in Italy in 2023, outperforming Barbie and Oppenheimer.

This is the story of Italian women coming together and having the chance to finally stand up and be counted.

I have already reccommended to all my frfiends in Sydney to go to the Palace Cinma in Broadway tonight at 8.30pm and see for themselves this amazing piece of Italian film.

POTERE DELLE RAGAZZE! Tranlation…GIRL POWER!

To book tickets to this or other films click https://italianfilmfestival.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.

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Poe Dreams of Madness

2 October 2024 Manuela Kacomanolis

Poe Dreams of Madness Rating

★★★★★

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Decked out with skeletons, skulls and all décor dark and spooky, the moment theatregoers stepped into the Garrick Theatre, they were transported into a gothic world with a focus on ghosts, murder and mayhem, and a dose of eccentricity.

From the famed American writer and poet Edgar Allan Poe, a series of his tales were brought to life by talented young actors of the Teens at Garrick theatre group for Poe Dreams of Madness.

The play begins with Edgar himself, superbly played by Annie Dahn as the troubled and eccentric protagonist. Unsure whether he’s dreaming or awake, he looks back on some of his greatest tales, unaware that he is the mastermind behind their creation. Like a dream he’s desperately trying to recall, there are moments when lines that are spoken become familiar to him, but it’s an ongoing struggle for him to put pieces of the puzzle together.

The play is reminiscent of A Christmas Carol, where Scrooge is taken back at the stroke of midnight to watch his past play out before him. However, in this instance, it is the raven who takes Edgar on a journey to watch his tales play out before him.

Edgar was one of America’s greatest writers, but he was a tortured soul. In 1849, he was found in the gutters outside a Baltimore polling station, disoriented, incoherent, and wearing another man’s clothes. It is almost as though he is transported from that moment to the start of the play, unable to make sense of what is happening, what is real, and what is not real.

Nine of his tales are retold, including his most well-known, The Raven, and The House of the Fall of Usher, which, for those who may be interested, is currently streaming on Netflix. Each scene tells a different tale, and the transitions between each scene are seamless and skillful.

The stories build up to a climax, at which Edgar is confronted with characters from his stories and, in a way, confronted with himself. All characters are played with great passion and enthusiasm from the young cast.

The set was simple but very effective, with few props but it was all that was needed together with mood lighting to make the audience feel they were inside a dim-lit gloomy study room of an old 19th century brick building.

Poe Dreams of Madness left me wanting to know more about Edgar’s life and his works but for anyone into dark gothic tales, you will not be disappointed.

For tickets, book online at https://www.taztix.com.au/garricktheatre/

or Phone Bookings:
TAZ Tix 9255 3336

Venue: Garrick Theatre
16 Meadow St, Guildford

Performance Dates:
September 27, 28, 29*, October 4, 5*, 5eve, 6*, 11, 12
All evening shows at 7.30pm.
*Matinees at 2pm

Tickets: Adult $28, Concession $23, Members $22
Child Under 18 years $15

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.

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Maria Montessori Film Review

27 September 2024 Michelle Rooke

Maria Montessori Rating

★★★★★

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Léa Todorov’s directorial debut feature film ‘Maria Montessori’ offers a biopic of the Italian doctor’s journey in revolutionising children’s pedagogy. Maria Montessori transformed societies positioning of children with disabilities, medical conditions, &/or neurodivergence in education, and women in the workforce.

Set at the turn of the 20th century, the film begins in Paris where the esteemed French courtesan Lili d’Alengy (Leïla Bekhti) is confronted by the return of her estranged daughter Tina (Rafaëlle Sonneville-Caby) into her custody.

Lili is ashamed of the disabilities Tina possesses and frightened she will ruin her social standing so she flees to Rome. There she attempts to admit Tina as a boarder to a pedagogical institute that takes in ‘idiot children’ (as they were then referred to). Maria Montessori (Jasmine Trinca) and Guiseppe Montesano (Raffaele Esposito) manage the facility.

Maria accepts Tina into the program, but is unable to offer accommodation, much to Lili’s dismay she must stay based in Rome until a bed becomes available for Tina. Tina makes great academic and locomotive progress at the school, under the caring support and guidance of Maria.

Lili begins to soften her boundaries; a significant turning point of which, is when she plays the piano at the school, and the children delightedly dance along to the music. The music acts as a bridge, that reframes Lili’s perspective of the children’s mental and emotional capabilities, furthermore uniting her with Maria. Maria was initially judgemental of Lili’s abandonment and disavowal of motherhood to Tina, as Lili becomes more involved the two women forge a friendship.

We learn that Maria and Guiseppe are in secret romantic partnership and have a son together, who lives in the care of another woman in the countryside. Maria longs to live with her son Mario (also with disabilities), but she wishes to maintain her autonomy and without marrying Guiseppe he will not claim the child as his own, so the couple are limited to weekend visits to see him. Maria and Lili’s lives’ parallel each other, despite their significant differences.

Both have been estranged mothers in the pursuit of their independence. Lili is shocked to learn Maria doesn’t get paid for her work at the institute and helps Maria pave a path forward to achieve recognition for her pedagogical approach and the ability to grow and transmit the Montessori method.

The film offers fantastic subtext on the societal framing and transmission of shame, particularly as it effects nonhomogeneous groups. The casting is fantastic. The youth cast have real life physical and cognitive disabilities. It’s impactful to see the positive representation of people with disabilities being empowered not just through the story’s messaging, but also in its delivery. Rafaëlle Sonneville-Caby’s acting and depiction of her character Tina’s journey is incredibly moving.

Tina has a strong appetite and inclination towards learning. Seemingly non-verbal but with expressive emotional intelligence, receiving praise and love ignite her spark and inner determination. Rafaëlle illuminates Tina’s personality with beautiful authenticity. Several of her scenes were so affecting and poignant I found my emotional-physiological response resounding in fierce protection of her character. The story is one of sisterhood between Maria and Lili, and motherhood of each with their children, moreover motherhood as an approach to education.

Quotations such as “The new pedagogy must acknowledge the sublime art of motherhood” and “An education of love” speak to this and are expanded upon where Maria advocates for women to contribute to the workforce “Motherhood will then become a social model.” I think this idea is powerful and gaining traction in society today, for all it can offer – not just to women, but to everyone.

The story is both inspiring, and a heartbreaking rendering of the complex decisions women were required to make in this time and context. An important cinematic offering from Léa Todorov.

To book tickets to this or other films, click https://italianfilmfestival.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.

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