Here’s a quick taste of reviews of current release Australian feature films Blame and Sleeping Beauty. Please note these do not reflect the views of the AFI. We’re aiming to represent opinions and views from various sources, and you’ll make up your own mind, of course!
Released nationally in Australia on 16 June by Pack Screen, Blame premiered at the 2010 Melbourne International Film Festival (where it was a MIFF Premiere Fund film) and screened to some acclaim at festivals including Toronto and Chicago. Filmed and set in the foothills of Perth, the story centres on a group of young vigilantes intent on wreaking vengeance for a sexual betrayal.
Directed by Michael Henry, and produced by Ryan Hodgson, Melissa Kelly and Michael Robinson, Blame stars a raft of fresh but familiar talent, including Sophie Lowe, Kestie Morassi, Damian de Montemas, Simon Stone, Mark Leonard Winter and Ashley Zukerman. Reviewing the film as part of the TIFF 2010 lineup, Twitch’s Todd Brown was particularly impressed by the actors, and by the opening sequences, but writes that the film is “[l]ong on cast and concept but slightly short on execution,” and that it “never quite manages to reach its full potential or really cash in on its premise”.
Megan Lehmann, writing for The Hollywood Reporter (login required), calls Blame “a compact little thriller set in a remote corner of the Australian bushland,” and predicts that it will be a good calling card for its cast and crew. She singles out the stark piano-heavy score and DOP Torstein Dyrting’s lingering camera-work for special mention, with the only real criticism being a “generally tight script [that] stumbles in the second act as the characters chase their tails for a while.”
Simon Miraudo, over at Quickflix sees in the film “brief flashes of brilliance that evoke Alfred Hitchcock and Agatha Christie,” though ultimately, he argues, “it feels like a sincere tribute to Hitchcock and Christie, but not a modern-day companion piece.” Miraudo singles outs out performances by Damian de Montemas, Sophie Lowe and Kestie Morassi for special mention. Also seeing Hitchockian references in Blame, Peter Galvin (SBS Film) commends the way the audience’s sympathies are simultaneously engaged by both the victim and the perpetrators.
Leigh Paatsch, reviewing for the Herald Sun gives Blame three stars and writes that “[f]irst-time writer-director Michael Henry makes a little go a long way throughout, pushing an impressive young cast through a twisty, turny maze most viewers will be happy to get lost in.” Both David Stratton and Margaret Pomeranz from the ABC’s At The Movies are similarly impressed with the film, agreeing with a three and a half star rating, and praising it as an intelligent low budget film that “punches above it’s weight.”
Sleeping Beauty, an ‘erotic fairytale’ about a young woman, Lucy (Emily Browning), who sells her body in a particularly passive way, is shaping up to be one of those films that is dividing critics and audiences. This divisive tendency was evident at the film’s premiere screening in Official Competition at Cannes 2011 (you can see a table summarising critical responses from French critics at Cannes here), and the vigorous debates here at home continue the tendency. In fact, as Glenn Dunks argues, writing for Onya Magazine, perhaps “the discussion it has elicited from critics and audiences (domestic and international alike) is reason enough for [the film’s] existence.”
One of the most interesting and lateral responses to Sleeping Beauty is this one by Matt Riviera on his blog A Life in Film, where he engages not only with the film but with its critical and audience responses. (Riviera has meticulously compiled a table of Sydney critics’ responses to 2011 Sydney Film Festival offerings, including Sleeping Beauty, and you can see that film’s divisive effect evident in the chart here.)
Anticipating that many viewers will be alienated and unmoved by the somewhat clinical tone of the film, Riviera notes that “[w]e are not encouraged to relate as much as to reflect on our position as voyeurs. In other words, we can look but cannot touch.” He goes on to offer a fascinating and unexpected reading of the film as a metaphor for Australia’s passive relationship to its own beauty and international exploitation.
Over at Cinema Autopsy, Thomas Caldwell gives a more conventional review. Awarding Sleeping Beauty four stars, Caldwell admires writer/director Julia Leigh’s “well tuned sense of visual storytelling” and notes that the film’s cinematography (Geoffrey Simpson) and production design (Annie Beauchamp) evoke the work of Kubrick, Lynch and Greenaway. Caldwell also praises the “meticulous and minimalist sound design by Sam Petty”, and the “highly measured and controlled performance” of Emily Browning in the lead role. Anticipating other viewers’ criticism of the film, he writes that “[o]n face value Sleeping Beauty may appear to be simply an arty exercise in film style and as a result will no doubt perplex and frustrate some audiences, particularly those expecting something more erotic or blatantly emotionally charged. However, like Lucy it contains something dark, complex, mysterious and, indeed, beautiful deep down below the surface.”
David Stratton, reviewing for At The Movies, called Sleeping Beauty “a handsomely made and quite haunting first feature” and gave the film three and a half stars. Stratton argued, however, that “while it’s often very impressive it’s also very cold and detached.” Andrew L. Urban is another such viewer, frustrated at what he perceives as the film’s coldness. At Urban Cinefile he writes: “I salute the unique vision, but I feel cheated that I felt so little emotion in a film that has such vast emotional potential.” Writing in the same space, Louise Keller declares Sleeping Beauty “a mesmerizing film and a stunning debut for Leigh, although the ending disappoints and leaves us adrift.”
Jim Schembri, writing in the Sydney Morning Herald gives the film backhanded praise, arguing that “the one thing you can’t say about Sleeping Beauty that you can about many other Australian arthouse films, is that it is boring. If anything, there’s something mesmerising about Lucy’s journey and in Browning’s deliberately passive, low-key performance, even if the whole shebang leads to frustration.” Leigh Paatsch, in the Herald Sun is not so kind, describing it as “prentious” and an “arthouse snoozer”. Variety’s Peter Debruge is similiarly unimpressed, criticising the film’s “frustratingly elliptical feel and lack of character insight.”
Over at the Guardian however, Peter Bradshaw seems to gain far greater insight into the “emotional seriousness” of Lucy’s character, praising Emily Browning’s “fierce and powerful performance.” Bradshaw also calls the film a “technically elegant” and “assured debut”, nevertheless finding it to be “no more than the sum of its parts”.
Clearly, the debate will continue to rage. What did you think?