One of the conscious choices I made at MIFF this year was not to discount repertory screenings. In the past I’ve been obsessed with only seeing new films. But I want to focus more on film fest ‘experiences’ and not just see films simply because they are new. Especially given how strong some of the repertory options at MIFF this year were. My older films fitted into two distinct streams. Firstly I’ll cover the two films I caught from Alexandra Heller-Nicholas’ Pioneering Women programming stream. Then the three I managed at the Astor’s all night ci-fi marathon.
Undoubtedly my best experience of the festival was the screening of The Big Steal (1990) on 35mm. Director Nadia Tass was in attendance, as were cast members Claudia Karvan and Damon Herriman. Ben Mendelsohn also sent a quite hilarious introduction tape for the screening. Which was the perfect way to kick off a screening of what is one of the very best Australian comedies ever made. It’s a sweet high school love story with crime and heist elements. It’s also very reflective of Australian society, in particular class differences and the migrant experience. An exceedingly young Mendo is one lead, the head of a charming crew of teenage boys, also including Herriman and the utterly hilarious Angelo D’Angelo. Karvan is the female lead and even at this early age she brought a real complexity and presence to her character. Steve Bisley is perfectly cast as the hilariously sleazy second hand car salesman you will heartily root against. It was so great to see this with a huge crowd who constantly erupted with laughter and were totally invested in the film. Particularly what must be cinema’s only Volvo vs Holden Monaro chase sequence. A classic Aussie comedy and a teen film to rival basically any others. This is a little tough to track down, but I know it’s streaming on Ozflix and perhaps a couple of other places too. See it. Longneck of Melbourne Bitter
The other film I caught as part of the Pioneering Women programming stream was Broken Highway (1993), a tough look at toxic Australian masculinity directed by Laurie McInnes. The plot involves a package, a dead mate and a trip to rural Australia. This was a dense watch, perhaps not well suited to the festival grind. There is a flatness to the action that feeds into the bleak vibe and an aimlessness to the plot that almost hints at a noir vibe. Though I do feel that the lack of attention on the storytelling front in the end plays against the film, obscuring the thematic goals a little. Focuses on this contest of masculinity. Men hurling accusations that the other is scared, as if to be scared is the worst thing possible. The film is shot in beautiful black and white widescreen while the dialogue is really well written, meaningful with a snap to it. There are some great performances. Claudia Karvan as a blunt and quick witted young women. Her range as a young actress was made readily apparent by the two films I saw her in at the fest. David Field is great as the villain of the piece, all lean physicality with his menacing, snarling performance. A film I appreciated, but was not totally enamoured with. Would certainly like to see it again. Schooner of Reschs
The first film I caught when arriving at the Astor for the all night sci-fi marathon was the mythical Nothing Lasts Forever (1984). This film features SNL alumni including Bill Murray and Dan Aykroyd as well as Zach Galligan, most famous for appearing in the Gremlins films. The sci-fi weirdness contained in the film was so far from what the studio thought they were getting for their money, it has barely been seen in the 30 odd years since it was made. The film takes place in a draconian future where entry into, and everyday life in, Manhattan is controlled by the Port Authority. The result is something totally unique, that whilst is far from a masterpiece, is the kind of film you can’t help but watch with a big smile on your face. It’s unsurprisingly funny in an elevated and absurdist way. There’s some funny, adorably shonky, futuristic imagery, such as NY skylines with a single animated dome. That example sort of encapsulates the charm on display here. Even when it descends into awkwardness or amateurishness (or both at the same time), you will always be having a good enough time to persist with it. Pint of Kilkenny
It’s pretty much a given that watching a film with a big, enthusiastic festival crowd will improve the experience. But it is quite possible that The Visitor (1979) was an exception to the rule. The film played far too comically. And certainly some of that is down to filmmaking craft and performances. Not all of it though, and it is hard not to get caught up in a rambunctious crowd erupting in laughter at what is unfolding on the screen. The film is wild in every facet. Visually it opens with dust clouds and hooded figures, the plot involves an evil kid and shitloads of bird attacks, whilst the cast includes the likes of John Huston, Lance Hendrickson, Glenn Ford and Sam Peckinpah(!). Especially early on the sci-fi weirdness really shines through, helped along by some creepy flourishes on the soundtrack. It’s a mix of tonally worthwhile and unintentionally hilarious, though as the film progresses the balance shifts more to the latter. The evil kid performance is deliciously hammy and John Huston battles very hard. In terms of genre it’s a definitely a very horror imbued sci-fi if that’s your thing. There are certainly parts of this to like. But it does get a little too unintentionally funny and there are just so so many bird attacks. I have no idea what was up with them. Oh and the last half hour is basically unwatchable. Schooner of Carlton Draught
Tetsuo the Iron Man (1989) is an infamous film that I had heard whispered about on podcasts and in general conversation. So after the above film I took a nap to steel myself for what was to come. I tweeted afterwards that 5:30am is as good a time as any to watch the film, but that I never needed to see it again. I’m not sure I agree with the second part now, a month or so removed from the experience. The film plays like a gruesome cyberpunk Frankenstein filtered through punk rock. Aesthetically there is a lot going on. The achievement on a small budget, editing and practical effects as Tetsuo gets less and less human and more and more machine is just incredible. It is incredibly gross, at least for the first half. After that he becomes so much of a machine that it is no longer as visceral or cringy body horror as the early parts. And there is a rape/murder scene in the middle that is difficult to describe and truly horrific to watch. But there is just something about the vibe of the film and the craft that went into it that makes this really worth a watch. The narrative is barely worth mentioning, totally avant-garde. Though even at 70 minutes, this feels a little overlong. Stubby of Reschs