Ghostlight is a heartwarming film that blends comedy and drama through its exploration of grief and healing. This film is an excellent look into how a family may come together (or not) after an unexpected tragedy.
Directed by Kerry O’Sullivan and Alex Thompson, Ghostlight tells the story of Dan (Keith Kupferer), a construction worker who finds solace and purpose in a local theatre’s production of “Romeo and Juliet” after drifting apart from his wife Sharon (Tara Mallen) and daughter Daisy (Katherine Mallen Kupferer) due to a personal tragedy.
The film’s strength lies in its authentic portrayal of a family grappling with loss. What helps to achieve this authentic portrayal is that the three main characters are a family in real life. Kupferer delivers a standout performance as Dan, who provides a heart-wrenching and uplifting journey of a construction worker dealing with the loss of a Shakespearean actor. The supporting cast, including Dolly De Leon as Rita, adds to the story, making the characters’ struggles and triumphs feel real and relatable.
Another strong strength of Ghostlight is its storytelling and the character development of the family. The storytelling kept the pace of the film going as you watch these characters grieve and grow together to become the tight-knit family they once appeared to be.
There are only minor quibbles in the film as Dan struggles to overcome his own grief and blame. The narrative is beautifully put together and evokes genuine emotion. Some of the most memorable shots happen during the theatre scenes.
Ghostlight is not just a film about grief; it’s about the healing journey and how you can find companionship and comfort in the most unlikely of places. The community theatre setting provides a perfect backdrop for the characters to confront their pain. The film depicts the unpredictability of life and how creativity can help deal with any obstacles.
Without giving too much away there were two scenes that struck much emotion; the first being Dans breakthrough about the personal tragedy and the performance of Romeo and Juliet. Overall, Ghostlight is a touching film that will stay with you long after the credits roll. The great storytelling and powerful performances make this a standout film worth the watch.
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.
This is a tale of deep friendship, loyalty and duty – and beauty. In 1648, two Imperial Guards stand tall, dressed proudly in blue and silver uniforms with their backs to the ornate gate of Taj Mahal. It has been 16 years in construction, made by slaves and craftsmen. It is the morning before the first viewing of the Taj Mahal, which was rumoured to be the most beautiful building in the world. The Emperor Shah Jahan wishes for the Taj Mahal to remain the most beautiful of all and thereby issues a decree to ensure that this beauty is never replicated, forcing these guards to carry out an impossibly gruesome task.
Babur and Hunayun are bound by many rules – they aren’t allowed to turn around and look at the Taj Mahal, they must keep their sword raised and are forbidden to speak. To break these rules, as we discover from their conversation, could lead to harsh punishments, from being locked up for three days to death by elephant trampling.
However, even the threat of such consequences does not stop the impulsive chatter of Babur, played by Akkshey Caplash with such childlike enthusiasm that I immediately warmed to him. The other guard Humayun, played by Idam Sondhi, is the opposite of Babur. He is earnest and takes his job seriously, and we soon discover that he is the son of a senior military man. Humayun craves the approval of his father, has loyalty to his emperor, and believes in working hard to achieve rewards. It is perhaps, this tunnel view which will cast a shadow over both their futures.
Akkshey and Idam portray a strong friendship between the two characters. There are many moments of levity as well as philosophical conversation that takes place, showing a depth to their relationship. Akkshey’s Babur is a dreamer, creating and sharing ideas for his original inventions. Throughout the play, Idam’s Humayun loosens up and also shares his own creative invention. The two men are caged by their lower station and the rules of the more privileged, and their dreams and inventions signify their longing for being free. There was a theme of birds scattered throughout the play, and I found the links of freedom to these birds woven into the story cleverly significant.
Writer Rajiv Joseph, who was the 2016 winner of the Obie award for Best New American Play and also won the Lucille Lortel award for Best Play, has written an engaging script. Although there was no interval, there were two distinct parts, the turning point being the grim act the guards were forced to do by decree of the Emperor Shah Jahan. James Browne, the set and costume designer, created a daunting dungeon complete with underground water drainage.
Much like Babur and Humayun’s vast imaginings, I thought that there was intentional purpose to allow the audience to build their own images in their heads of some key scenes, guided by the set and stage lighting by lighting designer Kate Baldwin and composer and sound designer Me-Lee Hay.
This shone through in two particular scenes for me, with the first light morning unveiling of the Taj Mahal – where we didn’t see an image or a physical set of the beautiful building, but rather experienced it through the clever use of light and the actor’s reactions. The other stand out lighting and sound scene had explosions of red splashed on stage, and a rhythmical harsh slice sound amongst a frantic soundscape which signified one of the key horrifying moments in the play. This scene was gripping, and there was no need to show the actual visuals of what was happening, as we could see it in our mind. I noticed one audience member had their hands up to their mouth, clearly involved in the play.
Guards at the Taj, skilfully directed by Bali Padda again, two years after his directorial debut of the same play, is on tour throughout Australia throughout September and October 2024. This review was from the performance at the Riverside Theatre in Parramatta on the 12th September 2024.
Guards at the Taj is a confronting and beautifully scripted and acted play which will make you want to delve a little deeper into finding out whether or not this was based on a true story. Go see it, wherever it is playing around Australia!
Bonnie Lythgoe Productions celebrated its tenth anniversary with a brand-new production of Snow White. The latest pantomime opened over the weekend at Riverside Theatre, delivering enchanting charm, humour, and a dazzling spectacle that captured audiences both young and old.
Snow White follows the classic fairy tale of a kind-hearted princess whose beauty provokes the jealousy of the wicked queen. Determined to remain the “fairest of them all” and marry Prince Sebastian, the Queen orders Snow White’s demise. Little does the queen know her plan doesn’t quite go according to plan as she seeks refuge with new friends.
The performances were a key highlight of the production. Eliza Sunderland’s performance as Snow White, the titular character, exudes innocence that perfectly captures the essence of the beloved character. Her vocal performances, especially during the musical numbers, blended classic Disney charm with more contemporary energy.
Another stand-out performance was the devilishly over-the-top Wicked Queen, portrayed by Debora Krizak. The audience is encouraged to boo at her as she enters the scene to plot against Snow White. You can’t help but enjoy her wicked antics, thanks to her charisma and banter with those sharing a scene with her. Other notable mentions include Mark Jones as Muddles, a colourful character with witty one-liners injecting the show with humour, Tim Maddren as Prince Sebastian and Barry Pearl as Chambers.
From the moment you sit down, it’s clear that Snow White is a visual feast. The set design transports the audience into a magical fairy tale world. Lighting and effects bring to life the forest, village and menacing Queen’s lair, making the stage feel like it’s straight out of a storybook. The costumes, specifically Snow White’s signature gown and the Wicked Queen’s ensemble, contribute to the fantastical atmosphere. The inclusion of modern pop songs, which are performed with enthusiasm and flair, adds a contemporary touch to keep the production fresh and relevant.
Lythgoe has masterfully incorporated audience participation by creating an engaging and interactive experience. Children were invited to cheer along for our favourite characters (and boo for the evil ones), sing along to the catchy tunes, and join in on the “behind you!” moments, ensuring that the younger audience members stay involved.
Overall, Bonnie Lythgoe’s Snow White is a vibrant, energetic, enjoyable production that ticks all the boxes. It’s a fun, feel-good show filled with magic, laughter and mischief. The show is a perfect outing for families and will leave you smiling long after it ends.
Trust emerges as a standout film for this year’s St ALi’s Italian Film Festival, running nationwide at Palace Cinemas from September 18 to October 23. It invites viewers into an intricate psychological drama where love and fear dance together in a narrative that is as gripping as it is thought-provoking. Directed by the award-winning Daniele Luchetti and based on Domenico Starnone’s novel Confidenza, the film delivers an exploration of human emotion that lingers long after the credits roll.
The central figure in Trust is Pietro (Elio Germano), a well-respected teacher beloved by his students and admired by his peers. His reputation, built on his progressive pedagogical philosophy that affection trumps fear to inspire students, casts him as a pillar of his community. This idea of the “pedagogy of affection” becomes a thematic thread throughout the film, highlighting Pietro’s compassionate and encouraging nature. He’s the antithesis of the authoritarian teacher, choosing love over the fear of failure to guide his students toward their best selves. This progressive approach resonates with audiences, especially considering its relevance in the 1980s and ’90s when the film was set.
But a darker truth lies beneath Pietro’s moral righteousness and public adoration. His life takes an unexpected turn when he rekindles a relationship with a former student, Teresa (Federica Rosellini), one of the brightest minds he ever taught. After they meet again, Teresa confronts Pietro with a profound and unsettling declaration—she has always known about his affection for her, an affection he can no longer deny. Though the two begin a relationship, their dynamic becomes fraught with complexity and tension.
What starts as a seemingly genuine romance soon unravels into an obsessive and destructive bond. Teresa becomes aware of Pietro’s most closely guarded secret, a revelation that binds them together in a way that is almost stronger than love—through fear. The power of this secret is so immense that it threatens to undo the very foundation of their relationship, raising a central question that permeates the entire film: Is love more powerful than fear, or do these two emotions inevitably co-exist in a relationship built on vulnerability?
Luchetti masterfully plays with these concepts of love, fear, and honesty throughout the film. His direction ensures that the audience is never too comfortable, always wondering whether the bond between Pietro and Teresa is driven by genuine affection or by the terror of having their deepest fears exposed. The result is an exploration of how once-shared secrets can become weapons, altering the course of a relationship forever.
While Trust succeeds in exploring these weighty themes, there are moments when the film falters. Certain scenes feel unnecessarily drawn out, adding little to the overall narrative and making the film feel longer than its runtime suggests. As a thriller, Trust sometimes lacks the tension necessary to keep audiences on the edge of their seats, leaving a few key moments feeling flat. These pacing issues could have been addressed with tighter editing, which might have sharpened the film’s focus.
Despite these minor flaws, the performances are nothing short of extraordinary. Elio Germano delivers a nuanced portrayal of Pietro, a man whose inner turmoil is constantly simmering beneath his calm exterior. His ability to convey vulnerability and authority makes his character a fascinating study in contradiction. Federica Rosellini is equally impressive as Teresa, her performance embodying a mixture of longing, manipulation, and pain. Together, they create a volatile and captivating dynamic that anchors the film.
The supporting cast, including Vittoria Puccini as Nadia and Pilar Fogliati as Emma, adds further layers of complexity to the story. Isabella Ferrari’s portrayal of Tilde provides a sense of groundedness amidst the chaos of Pietro and Teresa’s relationship. Each performance enriches the film, allowing the audience to explore different facets of Trust, fear, and human interaction.
Ivan Casalgrandi’s cinematography elevates the emotional tone of the film. His use of shadows, light, and shots peering through windows door creates an atmosphere of quiet tension, echoing the characters’ internal battles. The set and costume designs also reflect the 1980s and ’90s setting, giving the film an authentic feel without distracting from the central narrative.
One of the standout aspects of Trust is Thom Yorke’s haunting score. Known for his ability to craft music that evokes deep emotion, Yorke’s contribution here is no different. His atmospheric soundscapes underscore the tension and emotional weight of the film, drawing the audience deeper into the story without overwhelming the performances. The themes of Trust are universal and timeless, making the film deeply relatable for audiences of all backgrounds. At its core, the film asks whether honesty, when laid bare, can strengthen or destroy a relationship. Can love survive when fear takes hold, or does fear inevitably erode Trust? These are the questions Luchetti leaves audiences grappling with, and their unresolvable nature is what makes Trust such an impactful film.
As the premiere film of the St ALi’s Italian Film Festival, Trust sets the tone for a fantastic lineup of Italian cinema. It challenges viewers to think deeply about the nature of human relationships, leaving them with more questions than answers, which is often the hallmark of a truly great film. Despite a few pacing issues, Trust succeeds as an emotionally resonant and visually arresting exploration of love, fear, and the secrets we hide from each other—and ourselves.
Film Review: Trust (2024) Directed by Daniele Luchetti Starring: Elio Germano, Federica Rosellini, Vittoria Puccini, Pilar Fogliati, and Isabella Ferrari Based on the novel Confidenza by Domenico Starnone Original music by Thom Yorke
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.
