The Turning (2013)

The source for this film was a collection of short stories by the Australian writer Tim Winton, so the producers took the decision to make it a collection of short films, each directed and written by someone within the Australian arts world. Therefore you wouldn’t really expect it to hang together so well, but somehow — perhaps thanks to the strength of the underlying short stories — there’s definitely a thread that connects them all, not just thematic but in tone, too. There’s a sort of understated elegiacal atmosphere, of pregnant pauses and long lingering shots of the sky: this is a film very much invested in a vision of its part of the world, with laconic and weary characters. Each shares a story that deals with some kind of turning point in their lives, quite often young lives, but not exclusively. And despite the number of different works, there’s nothing that really stands out as particularly weak or out of place, given that sense of unity I mentioned earlier, though there’s one brief animation that opens the film (“Ash Wednesday”), a contemporary dance piece towards the end (“Immunity”) and another short film takes the form of almost documentary-like testimonies rather than acted scenes per se (“Boner McPharlin’s Moll”). It adds up to a strange, compelling view of Western Australia, though one that runs rather long.


© Level K

FILM REVIEW
1. Ash Wednesday (director/writer Marieka Walsh); 2. Big World (director/writer/cinematographer Warwick Thornton); 3. Abbreviation (director/writer Jub Clerc, cinematographer Geoffrey Simpson); 4. Aquifer (director Robert Connolly, writer Justin Monjo, cinematographer Denson Baker); 5. Damaged Goods (director Anthony Lucas, writer Kris Mrksa, cinematographer Jody Muston); 6. Small Mercies (director/writer Rhys Graham, cinematographer Stefan Duscio); 7. On Her Knees (director/writer Ashlee Page, cinematographer Miles Rowland); 8. Cockleshell (director Tony Ayres, writer Marcel Dorney, cinematographer Germain McMicking); 9. The Turning (director/writer Claire McCarthy, cinematographer Denson Baker); 10. Sand (director Stephen Page, writer Justin Monjo, cinematographer Bonnie Elliott); 11. Family (director Shaun Gladwell, writer Emily Ballou, cinematographer Jeremy Rouse); 12. Long, Clear View (director/writer Mia Wasikowska, cinematographer Stefan Duscio); 13. Reunion (director Simon Stone, writer Andrew Upton, cinematographer Andrew Lesnie); 14. Commission (director/writer David Wenham, cinematographer Andrew Commis); 15. Fog (director/writer Jonathan auf der Heide, cinematographer Ellery Ryan); 16. Boner McPharlin’s Moll (director/writer Justin Kurzel, cinematographer Andrew Commis); 17. Immunity (director Yaron Lifschitz, writer Circa Contemporary Circus, cinematographer Robert Humphreys); 18. Defender (director/writer Ian Meadows, cinematographer John Brawley) | Writers as above (based on the short story collection by Tim Winton) | Length 172 minutes || Seen at home (DVD), London, Sunday 3 May 2015

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Centro Histórico (2012)


SPECIAL SCREENING FILM REVIEW || Directors/Writers Aki Kaurismäki; Pedro Costa; Víctor Erice; Manoel de Oliveira | Cinematographers Timo Salminen; Pedro Costa and Leonardo Simões; Valentín Álvarez; Francisco Lagrifa Oliveira | Starring Ilkka Koivula, Ventura | Length 80 minutes | Seen at BFI Southbank (NFT1), London, Sunday 5 January 2014 || My Rating 3 stars good


© Globalstone RV Films

The portmanteau film (or ‘anthology’ if you will) is a curious phenomenon, which had perhaps a bit more prominence in the 1960s when packages of trendy young(ish) directors were put together with titles like Paris vu par… (1965) or RoGoPaG (1963). In more recent times, aside perhaps from New York Stories (1989) and the occasional celebration-of-cinema package, they’ve never really attained much prominence, and have been rather restricted to arts-festival-friendly themed offerings such as this one, which was made to coincide with the 2012 European Capital of Culture being awarded to Guimarães in Portugal. This all conspires to make Centro Histórico a little bit obscure (and unlikely to find much of a release in any form anywhere outside its country of origin), though its four directors are all relative heavyweights in the European art film world — and indeed the film was originally scheduled to include a fifth short by Jean-Luc Godard (though his has since been appended to another similar film themed around 3D). It was given a special screening recently at the BFI with two of the directors present (Pedro Costa and Víctor Erice), which I attended.

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