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Taya Calder-Mason: Blind Faith

Australian performer, Taya Calder-Mason, talks about the harsh realities of filming Beast No More in the Australian bush, and how her blind character fits into the horror setting.
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The Space Between

Australian, Review, Theatrical, This Week Leave a Comment

The first film to come out of the Australia/Italy co-production treaty, The Space Between is also the feature length directorial debut of Ruth Borgobello. Set in the picturesque city of Udine, Falvio Parenti plays Marco, a factory worker who moonlights as a chef. When tragedy strikes, Marco finds himself unable to cope and turns his back on his dreams. A chance meeting with Melbournite Olivia (Maeve Dermody) sparks something inside him and the movie follows the pair as they each realise their dreams.

Some may balk at the idea of another film in which the female protagonist supports the male through his troubles, but in reality, The Space Between sidesteps this issue, with Borgobello giving the trope a good old twist. Refusing to move on with his own life, Marco channels his energies into helping Olivia understand her true potential. Yes, perhaps the audience knows where this is all leading to, but they’re never dragged there under duress. Parenti and Dermody lead to an organic growth of mutual understanding, with each coyly ribbing the other for their foibles. As their lives entwine further, the weight of the story becomes more balanced between the two than you’d first expect.

Carefully paced, with a script that remains subtle for the most part, The Space Between is a visual feast for the eyes with an extraordinary use of colour seen in the film’s opening dream sequence, right through to the eye-catching end credits. The Italian countryside has never really needed assistance to show of its wares, but under Bogobello’s hand it becomes something else.

Hoping to pin down the hopeless romantic in us all, The Space Between might not be wholly original, but its warmth and exuberance mitigates this, allowing for a feel good film for the winter.

 
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Ali’s Wedding

Australian, Review, Theatrical, This Week 1 Comment

Like the first snowflake of an eventual avalanche, it’s a seemingly small untruth that starts a whole ball of catastrophe rolling in Ali’s Wedding: expected to go to medical school by his proud but somewhat domineering parents, Iraqi-Australian Ali (Osamah Sami) does the only thing he can in the moment: he lies about his entrance exam results.

His folks are ecstatic, especially his father, prominent Imam Mahdi (Don Hany); a medical student son not only brings much prestige to the family, it ups Ali’s status as an eligible bachelor, and soon Ali is being shopped around as husband material. This doesn’t jibe well with our hero’s own romantic intentions, as he’s fallen for Dianne (Helana Sawires), an Egyptian-Australian medical student he met while sneaking into classes (funny how one lie leads to another, isn’t it?). Events, as they tend to do, escalate.

Billed as Australia’s first Muslim rom-com (it isn’t;  director Peter Andrikidis and writer Alex Lykos beat ’em to it in 2015 with Alex & Eve, albeit that was a Greek/Muslim rom-com), Ali’s Wedding is based on the real life experiences of star and co-writer Osamah Shah, as detailed in his book, Good Muslim Boy. At the heart of the story is the old tradition vs freedom tango, and that’s an especially interesting binary when placed in Australia’s Muslim diaspora. Things got particularly complicated when Ali, fumbling the subtle social code he’s only nominally aware of, accidentally consents to an arranged marriage, putting a pretty serious clock on his obligation vs desire dilemma.

There’s a happy ending waiting at the end of all this tomfoolery (that’s not a spoiler, it’s a genre convention) and director Jeffrey Walker (Dance Academy) guides us there with a light touch and a bright palette. He takes longer than he should, though – at 110 minutes, Ali’s Wedding is pushing it, timewise. A comedy near the two hour mark wants to be consistently, almost constantly funny. This one, while fairly engaging, tends to hover around the “fond” smile” end of the meter, rather than burying the belly laugh needle.

Strong performances and likable characters save the day, though, with Hany and newcomer Sawires particularly standing out. Ali’s Wedding is an immensely charming offering, but falls short of being a new classic.