Filme, TV & Musik


No. 206

Independent, outspoken and often polemical, Metro features writing by some of the region's foremost academics and critics, providing readers with comprehensive coverage of Australian, New Zealand, Asian, and Pacific screen industries. Combining a wide range of topics and disciplines, Metro offers a unique blend of in-depth scholarship and popular writing, perfectly capturing key trends and developments in screen culture.

Australian Teachers of Media Incorporated
Mehr lesen
CHF 23.70
4 Ausgaben

in dieser ausgabe

10 Min.
aussie mayhem

A seething commentary on the global migration crisis, fish-out-of-water horror-comedy Two Heads Creek (2019) concerns faint-hearted Polish-British butcher Norman (Jordan Waller), who flees a hostile post-Brexit Britain with his melodramatic sister, Annabelle (Kathryn Wilder), to travel to the titular Australian rural town in search of their birth mother, Mary (Kerry Armstrong). Directed by local filmmaker Jesse O’Brien and scripted by British actor Waller, it’s a film that both knowingly embraces and – thanks to its partially international perspective – overcomes genre-film clichés regarding Australian aggression towards outsiders. I talk to producer Judd Tilyard about the challenges of authentically depicting Aussie national identity on screen and achieving a tonal balance between horror and comedy, and why it’s crucial to understand rather than undermine genre audiences. Oliver Pfeiffer: What attracted you to Jordan Waller’s…

16 Min.
sounds of loss

Playing out a narrative of imagined grief within the real-life settings of her parents’ greenhouse and her bedroom, Allison Chorn’s hypnotic film is part immersive documentary, part allegorical self-portrait. As Susan Bye argues, the film’s soundscape plays a central role in conveying liminality and threat, combining with its visual rhythms to constitute a work both Gothic and uncanny. The Plastic House (2019) is an exquisite piece of poetic filmmaking that is both intimate and disquieting. Primarily filmed inside a plastic-covered greenhouse on filmmaker Allison Chhorn’s parents’ farm, the project is a work of docufiction motivated by the hypothetical premise that Chhorn’s parents have died, and she has been left to continue with the task of planting and growing the family’s yearly crop of runner beans. Apart from some post-production sound mixing,…

11 Min.
forever young

Investigating the legacy of an eleven-year-old Puerto Rican salsa singer who achieved momentary fame before vanishing without a trace, Sam Zubrycki’s documentary explores the complicated relationship between the child star and the New York record producer who discovered him, along with the broader importance of the musical genre to contemporary Latin American culture. Speaking to the director, Jasmine Crittenden asks him about the documentary’s winding path to completion, and the impact that it has had on the lives of its subjects. In 2014, Australian filmmaker Sam Zubrycki was in a record shop in Cali, Colombia, when he heard a voice on the stereo unlike anything he’d ever heard before. ‘It was so mysterious, so powerful, so strong,’ he tells me. ‘You could hear so much heartbreak and so much emotion –…

10 Min.
singing from the rooftops

Following a group of young singers from audition to performance at a prestigious Brisbane opera school, Liselle Mei’s documentary is an intimate representation of female friendship and artistic development that doesn’t shy away from some of the less edifying aspects of opera culture. As Rebekah Brammer writes, the film is also a production thoroughly situated in the city of Brisbane – both diegetically and behind the scenes – and ultimately serves as a paean to its setting. Founded in 2011, the Lisa Gasteen National Opera Program1 – based at Griffith University’s Queensland Conservatorium and headed by Gasteen herself – proclaims itself as ‘the premier elite training program for young Australian opera singers’, providing a short and intensive course that enables students to train locally in a way previously only available overseas.2…

15 Min.
sweet, sour and spicy country

Blurring documentary and fiction, Warwick Thornton’s six-part television series sees the Indigenous filmmaker retreat to a makeshift dwelling on the picturesque northern Western Australian coast to cook, tell stories and pass the time in quiet contemplation. As Kenta McGrath finds, the show – which was filmed before the onset of the COVID-19 pandemic, but released in the midst of it – carries immediate resonance in its minimalist focus on isolation, subsistence and healing. As long there are films, there’ll be films about lone men surviving in nature. Whether these men are forced into such a situation, like the sailor who becomes stranded at sea in All Is Lost (JC Chandor, 2013), or they choose it, like a young romantic’s self-imposed stint in the Alaskan wilderness in Into the Wild (Sean Penn,…

14 Min.
signs and wonders

Replete with references to the zodiac and associated symbology, UK–New Zealand miniseries The Luminaries is a tense drama set in the multicultural world of nineteenth-century Aotearoa goldfields. Scripted by Eleanor Catton, the author of the ambitiously structured novel of the same name, the production provides intriguing insights into the challenges and limitations of televisual adaptation, as Anthony Carew finds. When a screen adaptation of a beloved novel radically rewrites its source text, viewers who love the book can get defensive. Those screenwriters who raze, change and chop up the book, it’s usually posited by protective fans, lack appropriate respect for the text, and perhaps even fail to understand what it was that made it great in the first place. But what about when it’s the novelist themselves doing the rewriting? This scenario…