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We Have Never Been Modern Film Review

16 February 202416 February 2024 Rebecca Yeo

We Have Never Been Modern is a 2023 Czech-Slovak crime drama directed by Matej Chlupacek and written by Miro Sifra. The film is set in 1937 in a town that is being transformed into a modern metropolis by the Bata shoe company. We Have Never Been Modern is a glimpse into life in Czechoslovakia.

In We Have Never Been Modern, we meet protagonist Helena (Elisha Krenkova), a former medical student who moves to Svit with her husband, Alois (Miloslav Konig), a factory manager. However, their hopes for a bright future are shattered when a shocking discovery is made on the factory grounds.

The performances of this film are excellent, especially by Krenkova, who portrays Helena with intelligence and courage. Helena is not afraid to say what is on her mind, which is a touch of humour, and to go after what she thinks is right. Another stand out of the film was Richard Langdon, who played Alexander “Sasa” Matula, a young man’s story we follow in the second half of the film.

The film ran for 1 hour and 57 minutes, but the pacing kept you watching throughout the film, especially during the second half. This is the second feature film from director Matej Chlupacek, but with his approach and execution of his vision, I will be watching more of him in the future.

The film has a rich colour palette, dynamic cinematography, and a production design that recreates the period atmosphere. Although the design recreated the period atmosphere, it did not make the film look dated. The film features a score by Martin Douba, adding suspense and emotion of the story. There were one or two moments where I thought the score was too loud for the story.

The film explores the themes of otherness and prejudice in a society undergoing rapid modernization. Helena is the only one who wants to uncover the truth behind the mysterious case, while the others are quick to dismiss it as communist sabotage or a curse.

She faces resistance from the local authorities, the factory workers, and even her husband, who are all invested in maintaining the status quo and the image of progress. As she delves deeper into the investigation, she also uncovers secrets and lies that threaten to destroy her marriage and her life.

The film is a compelling and original blend of historical drama, mystery, and social commentary. It challenges the conventional notions of gender, identity, and morality. I found the film a reflection of how we have grown, but how we have stayed the same in a way.

We Have Never Been Modern is a film that challenges us to rethink our assumptions and embrace the complexity and diversity of life. It can be seen at this year’s Europa Film Festival, which runs from Feb 15 to Mar 11. Užívat si (Enjoy!)!

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

16 February 202415 February 2024 Paige Jenkins

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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The Wharf Review – Pride in Prejudice

15 February 2024 Kat Skarbek

Being a Pom, if I had seen this production advertised, I would honestly have said, “No, not for me.” I’m not interested in politics beyond the important issues, and Australian political satire is definitely not my usual wheelhouse. That said, I’m so glad I got the opportunity to see this show. I was surprised and genuinely entertained by The Wharf Revue’s pith and wonderful wit in their latest production, ‘Pride in Prejudice’.

The company romped energetically through two hours packed with songs and skits, all ripe with intelligent social commentary and a keen eye for the ridiculous. Despite the occasional slip into some Benny Hill-esque style humour, they provoked and delighted in equal measure, calling out both the hypocrisy and the difficulties of our current political landscape.

They deftly illuminated the prejudices we still unconsciously carry, many of which are a hangover from our colonial days. Poking gleefully at the beasts that are Australian ‘bloke’ culture, climate change, racism, the ‘Yes’ vote, sexism, inequality and many well-known government representatives in all of their ever-changing and inconsistent glory, the show was blunt, pithy and very funny. Not even Biden, Putin or the Royal Family were safe.

The cast shone, seamlessly shifting from one political player to the next, with an uncanny ability to truly bring their subjects to life. A confused elderly Joe Biden was a gem in this respect, but I would like to give a real shout out to Mandy Bishop, whose diverse vocals and comedic talent were a delight throughout but especially in the Jazzy ‘Toughen Up & Fly Right’ where she sings about the vagaries of life as Peter Dutton’s deputy, Sussan Ley.

The whole show was brilliant, but highlights would have to be Trump (played by the fabulous Jonathon Biggs) and Giuliani on the run from a chain gang, during which Trump whips out a ukulele and sings a gem of a song, ‘In the Land of Mar-a-Lago’, about Trump’s magical resort created for important people like them, in all of their misogynistic, narcissistic and ruthless beauty, which was a big hit with the crowd and made me laugh out loud.

I also cannot go past the tender song about the outcome of the recent Indigenous ‘Yes’ vote, which was lyrically poignant and movingly delivered to a slowed-down reworking of ‘Bad Moon Rising,’ and which proved that the Revue has an enormous heart as well as biting wit.

In the olden days, the role of the court jester was to highlight the folly of those in power, and every member of the Wharf Revue skilfully did this with punchy, no-holds-barred humour.

So, even if you are politically more slacktivist than an activist, go see it! Unlike Albanese, whose election promises have now been downgraded to ‘more of a values statement’, I promise you you’ll get great value from this show.

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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The Rooster Film Review

16 February 202415 February 2024 Davros Dark

The Rooster, a cinematic journey directed by Mark Leonard Winter and set against the backdrop of Australia’s picturesque bush landscape, opens with a scene shrouded in mystery, immediately captivating the audience. Its title, a symbol laden with anticipation and curiosity, sets the tone for a film that promises an exploration of deep themes and complex relationships.

From the outset, the film establishes its narrative pace and character development through the silent routines of its main characters. This method, mostly devoid of dialogue, is well executed and intriguingly allows the audience to immerse themselves in the characters’ lives and get to know them by observing their actions, particularly highlighting Dan, a small-town policeman portrayed with depth and nuance.

The storyline revolves around Dan (Phoenix Raei) as he navigates the aftermath of discovering his oldest friend buried in a shallow grave. This discovery propels him on a quest for answers, leading him to Tim (Hugo Weaving), a hermit living off the grid and the last person to see Dan’s friend alive. But was Dan looking to solve a potential murder mystery or attempting to answer his own questions? What ensues is a complex tapestry of friendship, grief, and existential search for meaning.

The investigation into the friend’s death, initially the story’s core, gradually becomes a backdrop to a series of events that, while visually compelling and enhanced by the Australian bush’s stunning cinematography, meander away from the initial mystery. At times, the friendship that forms between Dan and Tim feels muddled by actions and decisions that seem incongruent with the actions of real people.

Disappointingly, the film takes the time for the obligatory and unoriginal disrespect towards a religious symbol, which serves little purpose in portraying the character’s evolving relationship and rips the watcher out of the story. We’ve seen it all before, and it unnecessarily distracts from the story’s emotional resonance and thematic coherence.

The visual storytelling, particularly the outdoor scenes set in the Australian bush, showcases the film’s technical strengths with excellent lighting and innovative camera angles.

As “The Rooster” concludes, the audience is left pondering the significance of its symbolism, the resolution of its mysteries, and the true arc of its protagonist, Dan.

The film explores themes of friendship, redemption, and the search for hope in unlikely places. Despite the strong performances and a promising premise, the film takes too long to develop the relationships between the central characters. The movie’s final act hints at the promise of an intense payoff worth the investment in time but inexplicably chooses to lower the stakes before concluding.

In summary, “The Rooster” offers an interesting afternoon’s entertainment, and with the star box office attraction Hugo Weaving present, fans will delight in his performance.

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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