Sydney Underground Film Festival 2014

Without a doubt, the Sydney Underground Film Festival is one of the most, if not the most daring film festival on the festival calendar. Each year the film festival aims shocks their audiences in as many ways as possible with it's ambitious yet often disturbing program and 2014 is guaranteed to do no different. The Sydney Underground Film Festival aims to go where other film festivals won't dare and showcase the quirky and bizarre, but also the highly original and brilliant.

This year's festival at the Factory Theatre will kick off on the 4th of September with a screening of the New Zealand horror-comedy, Housebound and performance by Renny Kodgers. After four days and over 100 films, the festival will close on the Sunday night with the controversial and much talked about German feature, Wetlands.

Sydney Underground Film Festival director, Stefan Popescu took the time out of his busy preparation for the festival to have a chat to us about what to expect at this year's festival and what are the films to see.

So Stefan, how are you feeling with the Sydney Underground Film Festival just around the corner now?

Oh it is always just a little bit of a stressful time, but also very exciting. The adrenalin is pumping!

How do you feel the 2014 festival has broken new ground?

With the short films actually strangely. We're playing some really, really risky short films...if they even get through. I mean there is a really big chance the Office of Film and Literature Classification will ban some of the shorts. Hopefully they don't, they are looking at them right now. I think the shorts are really, really pushing a lot of boundaries.

In terms of the features, the one thing I can say is I don't know if it is the economic climate but there is a bit of a return to a more independent style of filmmaking. So it's interesting, even to the point of The Green Inferno where they are pulling it from distribution in the US and how they are handling it. I think Eli Roth had a big hand in not letting distributors getting their hands on it there. It is an interesting climate for filmmaking. There are more documentaries which is another sign of independent filmmaking. I think because of the accessibility with technology now.

So there are some films in the shorts program which are being looked at in terms of whether they are appropriate to be shown at the festival?

Yes, the Office of Film and Literature Classification are really scrutinizing the shorts particularly from The Best of the Fetisch Film Festival part of the program, but there are also a few from the Love/Sick part of the program which they are also looking at. I think they are really concerned when it comes to sex and/or violence. In particular, there is one called I Am Monster which they are really scrutinizing. I mean The Best of the Fetisch Film Festival is really graphic at the best of times and I Am Monster is really twisted. It's about a woman and necrophilia, but strangely that one is actually quite comedic.

What has the process for selecting the films which are part of this year's festival been like?

Well, it's been pretty similar to what it is like every year. We start from basically what's been submitted to us, so we never really have a major preconception and that's also why our program is always released a bit late. We actually go through all the films, have a look and see what we respond to, then take those and then start to see the themes that form. So we develop this early on so that we can keep the program really fresh and up to the time, rather than have preconceptions from what other film festivals and it's also a way of distinguishing our program too which is curated from production. Initially you see themes that form and things like that. So this year it seems to be a strange combo of horror/comedy and intimate pieces with interpersonal relationships. A lot more profound that what it usually is. Along with horror we do have that theme of the end of the world, like we have a documentary about living forever and then we have all these apocalyptic short films. You always seem to get two or three themes that stick out.

Can you tell us a bit about the "Dead Oscar"?

Oh yes! That was from the beginning a local artist, Mark Wotherspoon, who developed these trophies for us made out of recycled TV screens. Basically we thought that we don't really like the idea of prizes, so we thought that having the Dead Oscars would be a good idea!

Absolutely! So what type of film could win the Dead Oscar?

Oh whatever the jurors deem fit to win it! We still have jurors and they usually go through it and create their own awards. I guess it's about what resonates more with them. Then they sort of commend a whole bunch of films. This year's jurors are Nicholas Hope, Lauren Carroll Harris and Neil Foley. We sort of try and get a mix usually of artists. We like actors because actors normally know their art quite well. We do have an Audience Choice Award, so we have a couple of Dead Oscars to give away. The jurors do pick their favourites, so there is the best of the festival kind of award, but the audience gets to do the same.

The Opening and Closing Night films are both films with big personalities. Why did you choose Housebound to be the Opening Night film and Wetlands to be the Closing Night film?

Well, because they do have big personalities! It's really funny because technically Wetlands is my favourite film of the festival, but I love Housebound as well. We sort of try and think "How do we want the film festival to kick off and what taste do we want to leave in our audience's mouth?" Bad choice of words for that film but (laughs)! Housebound because it is quite a fun film and it kicks off the energy right and Wetlands will leave you talking for a week. So we always think about what we want our audience to experience on our opening and closing night.

Now I just want to ask you a few questions about what films certain types of people should see. If someone liked to be scared and considers themselves a horror buff, what should they see?

Definitely The Green Inferno or Housebound, but I would say The Green Inferno.

If someone is easily grossed out, what shouldn't they see?

Well, there is a couple! Wetlands and The Immoral.

If someone wants a laugh, what should they see?

Definitely Trailer Park Boys or Suburban Gothic.

What should a music buff see?

Oh, definitely Breadcrumb Trail and Super Duper Alice Cooper.

If someone wants to see a feel good film, what should they see?

Nope, we don't have those! Oh...I Believe In Unicorns is not bad. I mean, it is still a little dark though. The other thing is My Name is Jonah, that is a bit of a feel good film.

If someone are after seeing a film which make them feel like they have taken some sort of wacky drug, what should they see?

Definitely the shorts, either the WTF Shorts or LSD Factory.

We've already touched on some of the most shocking films in the festival, but what would you consider to be the most shocking in the program?

Well, we covered the shorts, but The Green Inferno is shocking in it's own way. I mean, cannibalism is always going to get a rise out of people. I think also a lot of people have a tendency to overlook Why Don't You Play In Hell?, and that is strangely quite a comedic but very gory film. In terms of documentary, because documentary is always more shocking to me than anything else as the truth is always stranger than fiction. Love Child, I was shocked when I saw that. But we have so many shocking films!

You said before that your favourite film of the program is Wetlands, do you have any other favourite films?

Yeah, I won't mention Housebound again, but I am a big fan of Trailer Park Boys. I've watched the series and I've watched the other two features. I do like quirky, so something like My Name is Jonah about this quirky guy who no one knows.

What part of the festival are you most looking forward to?

I always like the Closing Night because it's over and you can have a drink! But Opening and Closing Night is always what you look forward to because you can relax on Closing Night. It's not that you don't enjoy the rest of it, but you are on duty the whole time. It does take it's toll. Yet in the following weeks after you finish it there is this strange sense of loss. It's a bit like Stockholm Syndrome! Yet within a week after it we open up entries for the next year so then it begins again!

For more information and ticket purchases, please see the official Sydney Underground Film Festival website

"Sharon Tate: Recollection" book review and Interview with Author and Tate sister, Debra Tate

Author: Debra Tate
Publication Year: 2014
Pages: 271
Publisher: Running Press
To purchase "Sharon Tate: Recollection", please visit NewSouth Books if in Australian and Running Press if in the USA.


Sharon Tate was an exceptionally rare brand of star. Not only did her image radiate with beauty and glamour, but she could light up any room she stepped into. Those who she met were instantly in awe of her grace, sensitivity and the overwhelming kindness and respect she gave everyone around her. "Sharon Tate: Recollection" by her younger sister, Debra Tate, is the book every Sharon Tate fan has been waiting for. Through many exquisite photographs and loving words by her sister and many of the people who knew her in her short life, the legacy of Sharon Tate as the star, friend and sister is perfectly preserved.

A sister's tribute to a woman who was loved by many, 'Sharon Tate: Recollection" is a coffee table book and illustrated biography. Sharon Marie Tate was born on the 24th January 1943 in Texas  and with her stunning features and natural talent, rose to film stardom and captured the hearts of many. Among her many achievements was being nominated for Most Promising Newcomer at the Golden Globe Awards in 1968. This tribute to Tate contains many never before seen photographs from her family's collection, as well as stills from both her films such as Eye of the Devil, The Fearless Vampire Killers and Valley of the Dolls, and her modelling days. These photos are accompanied throughout the book by memories many have shared about Tate, including recollections by husband, Roman Polanski (who also penned the Forward), Patty Duke, Barbara Parkins, Mia Farrow, Jane Fonda, Yul Brynner and Kirk Douglas.

"Sharon Tate: Recollection" is completely dedicated to the loving memory of Tate. Too often Sharon Tate is remembered just in association with the way she passed away. It is wonderfully refreshing in the way that this book avoids mentioning any of these details and remembers Tate for who she was in life and not the grisly details of her death.  She completed a large body of work in such a short period of time and her drive and talent made her destined for even bigger things. Tate was indeed a beautiful woman, but the book allows the reader to recognise that her beauty was by no means only skin deep. With the combination of the incredible variation of beautiful photographs and the words of praise from those who knew her, the reader gains a clear understanding of who Tate was and indeed starts to feel as though they knew her personally. While there is no mention specifically of Tate's death, there are some saddening recollections which subtly hint at what may have been and the feeling of loss many still feel with her gone. Debra's final recollection of her sister is particularly so, but also sweet and peaceful.

The choices of photographs used in the book (which were also co-edited by Debra's daughter and Sharon's niece, Arieana Tate Mussenden) are wonderful. They not only represent Tate's personality and versatility, but also just how much of a fashion icon she was and still is. Her look is as modern now as it was in the 1960's and the photographs chosen enlighten the reader to this fact. Film lovers will also enjoy stories and candid shots from behind the scenes of Tate's films.

While "Sharon Tate: Recollection" is not a traditional biography in the sense, it allows for the reader to walk alongside Tate as she grows up, finds stardom and marries the man of her dreams. It is an incredibly intimate journey which fans of Sharon Tate will be eternally grateful to Debra Tate for letting them be part of. Like Sharon, "Sharon Tate: Recollection" is eternally exquisite and mesmerising.

9/10

Photo by Roman Polanski

We at Movie Critical are extremely grateful and honoured to have been able to talk to author of "Sharon Tate: Recollection" and sister, Debra Tate. Debra currently lives in California and  continues to be an advocate for victim's rights, a cause which her mother, Doris was extremely active in during her lifetime.

Thank you so much for taking the time to answer a few questions, Debra! Congratulations on such a beautiful book!

Well, thank you. I really appreciate that. I hope to come visit Australia soon.

Was putting together a book for your sister something you had always thought about doing?

Absolutely. I had always wanted to write a book about Sharon, for many reasons. Primarily, I felt it was my obligation to help preserve her considerable photographic legacy, but also to try and redefine how Sharon was remembered.

For many years she had been in the public’s consciousness because of a specific event.....and then I noticed a change. New generations began to appreciate Sharon for who she was. Fan websites started appearing, fashion blogs regularly featured her as a sixties fashion icon, and major celebrities even referenced Sharon as the style inspiration for their magazine editorials and red carpet appearances. Today she is everywhere.

The idea for the book was not to present a traditional biography, but to carefully assemble photographs and pair them with recollections from myself, Sharon's friends, co-stars and work associates, and even Sharon herself. 

 

There are some incredibly beautiful photos of Sharon in RECOLLECTION. Did all of the photos come from your personal collection?
 

No, not at all. Of course the younger photos of Sharon came from our family album, but most of the later images came from the photographers themselves. What amazed me on researching for this book was her extraordinary productivity. The immense and diverse body of work in such a relatively brief time. Sharon was photographed by some of the greats of the 20^th century,  Richard Avedon, Bert Stern, David Bailey, Milton Greene, Terry O’Neill, Philippe Halsman, Shahrokh Hatami.

I think people today love Sharon for many reasons, her beauty, her sweetness, her style. There was a light about Sharon, almost a 4^th dimension if you will, that transcended the limitations of photography. It is almost as if you can see into her soul and know who she was just by looking at her picture. She really captured the essence of the sixties.

 

Do you have a personal favourite photo you used for the book? If so, why is it your favourite?
 

I love so many of them, but there is a photo of Sharon laughing on page 247 that I adore. She’s at the premiere of Rosemary’s Baby at the Cannes Film Festival in 1968. I believe Mia Farrow is just off camera. Someone has obviously said or done something that really amused her and every time I look at that photo I can hear her laughter. It’s such a genuine candid moment.

 

The forward for RECOLLECTION is by your former brother-in-law, Roman Polanski. He must've love the idea of you putting together such a loving tribute to Sharon. What was his reaction when you first told him about the book?
 

When I first approached Roman about the book, he was a little reserved and asked to see a final version before committing. After I sent him the initial layouts, he saw how unique and positive the book was. A true celebration of Sharon’s life. He was very pleased and promptly sent back his beautiful foreword.
 

As well as Roman, many of Sharon's friends from her Hollywood days have contributed to RECOLLECTION. Was it a lengthy process in speaking to all these people or did you find everybody very willing to speak about Sharon?

Everyone was so eager to contribute.Jane Fonda, Michelle Phillips, Patty Duke, Bert Stern, Joan Collins, etc. etc. It was wonderful. A few people preferred to keep their memories of Sharon private, and of course you have to respect that.

The photos of you at Cielo Drive in the book are great! In one of them you are wearing one of Sharon's dresses. All little sisters love dressing in their older sister's clothes, but was that one of the perks of having an actress as an older sister that you got to try on some of her extremely fashionable clothes?
 

You know I was a total tomboy in those days. Still am to a certain degree. I loved dressing up in some of Sharon’s crazy Paco Rabanne and Rudi Gernreich outfits, but I saw them more as Halloween costumes back then (laughs). Today I’m much more appreciative. I actually still have a lot of her vintage couture.

 

You were only a teenager when Sharon made her way into the spotlight. Was it both exciting and surreal at the same time?

Yes and no. I was much younger than Sharon, so I could never really remember a time when everyone wasn’t making a big fuss about the way she looked. She always seemed destined for stardom – greatness if you will. She worked extraordinarily hard and had a strong work ethic, but her face certainly opened many doors. By the time she became a star it just seemed … right. 

 

Sharon's most popular film VALLEY OF THE DOLLS wasn't really a film for younger viewers. Did your mum let you watch many of Sharon's films when they were released?

 

Oh sure. I actually got to watch a little of Valley of the Dolls being filmed at the time at Fox. Truth be told, I was more interested in Planet of the Apes, which was in production at the sound stage next door. I seem to remember the first time I saw Dolls was with Sharon – at a preview screening. She looked so amazing in that film. I will say, if there was one “Sharon Tate” look that most fans seem to adore, it’s her high fashion appearance in Valley of the Dolls – the gowns, the false eyelashes, the hairpieces, the camp. That film seems to become more popular with each passing year. I loved going back to 20^th Century Fox, so many years later, to explore their photo archive for the book.

Have you ever seen a film and watched the actress in it play a particular role and thought to yourself that Sharon could have played that role?

Great question ! I remember once watching A Patch of Blue, about the blind girl, and thinking Sharon would have been wonderful in that role. I always felt one of her strongest attributes as an actress was being able to elicit sympathy from an audience, not unlike Marilyn Monroe. As far as fairly recent films, years ago I saw the comedy Overboard with Goldie Hawn on late night television and it reminded me so much of Sharon. I think because she could have played both the aristocratic pampered beauty, as well as the country bumpkin. Sharon proved how great she could be in screwball comedy when she did The Wrecking Crew with Dean Martin.

From what I have read about Sharon in the past and in your book, it seems like she was extremely well liked and such a beautiful soul. She also seems like she always wanted to help other people and was extremely maternal. Are this some of the things you saw in Sharon through your eyes?

There were times when I was a little girl that I almost saw Sharon as a mother figure because of our age difference. By the time I was in my mid-teens our relationship was certainly more sisterly. She was a very maternal person, but in many ways I always felt protective of her. Despite her stardom she remained a vulnerable person, and I was very mindful of making sure she was never hurt.

In RECOLLECTION, you mention how you see Sharon everyday in your daughter, Arieana. That must be a comfort to you and make you proud as a mother and sister to see!

I am very proud of Arieana. She has a strong work ethic and a very defined sense of self. Every now and then I will see Sharon peeking out of Arieana, even in the most subtle of mannerisms. It’s sweet. Today, Arieana is a designer and we are actually collaborating on a Sharon-inspired clothing line. More to come.

You are doing such a wonderful job of carrying on the Tate legacy and following in your mother's footsteps for victims family rights. What can fans of Sharon's and of your book do to help out?

Thank you. Fans can always visit sharontate.net where I keep the world informed about Manson family parole hearings, at which times I need letters of opposition. On a more general note, look after those around you – it has a positive domino effect.

What has been the best part of your journey with RECOLLECTION so far?
 

Without a doubt meeting Sharon’s fans. I can’t tell you the love and warmth I feel when I meet people at book signings. It’s wonderful.

 

Movie Critical would like to thank Debra Tate for her time and NewSouth Books and Mouth Public Relations for their help.

Photo courtesy of Photofest

Locke (2013)

Year: 2013
Running Time: 85 minutes
Director: Steven Knight
Writer: Steven Knight
Cast: Tom Hardy, Ruth Wilson (voice), Olivia Colman (voice)

Locke is the perfect example of how a film can do so much while doing so little. Writer and director Steven Knight shows in his one man, minimalist film that tension can be built purely by conversational dialogue and needs very little added noise to achieve a high level of suspense. Tom Hardy gives an exceptional performance of a man who's eventful car trip contains several personal underlying themes and internal struggles which are familiar to many. Locke is an intriguing and mesmerising piece of raw, suspenseful and, unlike the lead character's situation, uncomplicated cinema.

When Ivan Locke (Tom Hardy) leaves his construction site, he is aware that there is one part of his life that is definitely about to change. However, he does not realise how much this car trip will impact other areas of his life which were seemingly idyllic before he turned the key in the ignition. During his hour and a half travel time, Locke has to deal with a number of challenging situations simultaneously which do not give him the luxury of knowing what life is going to be like once he reaches his destination.

Locke is incredibly intriguing for both its production and execution. It is primarily a one scene film, as the entire film takes place in Ivan Locke's BMW (aside from the opening moments of the film when Locke actually gets in his car) and the only character who is physically present in the film is Locke himself with all the other characters being just a voice on the phone. Locke is an ambitious piece of work because of these features, but Knight proves that he doesn't need more than what he has to create something clever, original and unpredictable. The film is incredibly tense and while there it does have subtle help from the musical score, it is all in the dialogue that makes it so. The screenplay is very well written in the way it intertwines three major storylines at once as well as incorporating the grudge Locke holds with his father which is continually at the back of his mind. Locke does not create suspense the way an action film would, but it does so in it's unpredictability.

While Locke's situation is not one that everyone will encounter during their lives, there are underlying themes in his situation which are extremely relatable. The theme that resonates the most is the idea that one action which seems harmless at the time can set in place a chain reaction where it changes the course of your life. This is ultimately what happens to Locke in the film and it is something which often plays on people's minds. The notion of "What if?" is such a common question asked in life and in Locke one has to wonder what would happen had he made different choices in his time leading up to this car trip, just as they would ask the same thing of themselves. Another idea in the film which some will be able to relate to is how Locke is trying so hard no to be like his father, that he is ultimately becoming like him. In life, sometimes people are so terrified about becoming a certain way that you start to morph into what they feared. In Locke, he obviously still is bitter towards his father for neglecting his family and wants to prove that he will not do the same thing. Yet, in his moment of weakness, he makes a decision that brings him closer to the way his father was than he ever believed he could be. This is perhaps not as common a notion as the first theme explained here, but one which does haunt many people psychologically.

The way in which Locke is filmed is wonderful. While the film has only one scene, the way this scene is filmed is varied so there is no reason for feeling like you are looking at the same shot over and over. The camera allows the viewer to see what Locke is seeing from several different angles and also allows Locke to be seen from varied angles which in turn let's the filmmakers use different lighting on him. The film takes place entirely at night so it is quite a skill to use the lighting from other cars and streetlights as an opportunity for a different perspective on Locke. The rain outside the car also gives a beautiful touch to the film and adds a sense of dread to enhance the seriousness of Locke's situations.

Tom Hardy gives a wonderfully controlled performance as Locke. His character is a particularly complex one who is not only facing the challenges of his situation, but also the challenge of trying to hold himself together during his time on the road. One may argue that they would like to see Hardy get angrier, but the reality of his situation is that he is on the road and he can't go crazy or he will never reach his destination. You can see within him that he is on the verge of going slightly crazy and even though does have a weak moment here and there, he is for the most part controlled. The side of his character that Hardy shows when he is talking to his father is also very interesting and makes the viewer uneasy.

Even though Locke is a film which may feel like it is restricted in it's surroundings, it is a film that does so much with what it is given. A wonderful, suspenseful and original piece of cinema.

8.5/10