Review: Pina

I've never seen a work by Pina Bausch. As with those of us who come too late, who miss the boat, who weren't there, my knowledge of ...

Monday portmanteau

* I forgot yesterday to mention James Waites's continuing meditations on the Bacchanalian qualities in Barrie Kosky's work, includin...

MIFF

I feel remiss for not mentioning the Melbourne International Film Festival, which is now in full swing, with a good dose of political contro...

Review: Van Diemen's Land

I first encountered the story of Alexander Pearce around 15 years ago in Robert Hughes's indispensible history, The Fatal Shore. It'...

Fillums, old and new

Last Friday, irretrievably sealing her reputation as Frivolous Arts Wanker, Ms TN flew to Adelaide to see a movie. The idea was that I would...

How theatre is saving the soul of Australian fillums

But does Australian film know this? Lately, TN - lynx-eyed in all things theatrical - has noticed that a number of theatre artists are quiet...

Review: Sweeney Todd

Yesterday we co-ordinated the family's complex social schedules and entrained to our favourite cinema, the Sun Theatre in Yarraville (ch...

Tarkovsky's Stalker: A Poet in a Destitute Time

Andrei Tarkovsky's Stalker is more like a poem than any film I know. I watch it every few years, and on each viewing it is more profound...

Review: The Tragedy of Hamlet, Prince of Denmark

As I left the Melbourne International Film Festival premiere of The Tragedy of Hamlet, Prince of Denmark, it occurred to me that I will prob...