Manchester by the Sea (2016) film review

Year: 2016

Running Time: 137 minutes

Director/ Writer: Kenneth Lonergan

Cast: Casey Affleck, Michelle Williams, Lucas Hedges, Kyle Chandler, Gretchen Mol, Matthew Broderick

Manchester By The Sea is now showing in cinemas everywhere and is distributed in Australia by Universal Pictures.

The stunning and incredibly crafted Manchester by the Sea is as heartbreaking as it is brilliant with it's tale of devastating tragedy intercepting with the absurdity of life.

Janitor Lee Chandler (Casey Affleck) ran from his Massachusetts hometown of Manchester to escape his haunting personal tragedy, but he is summoned back when another family tragedy occurs. Upon the death of his brother, Lee becomes his nephew, Patrick's (Lucas Hedges) guardian. Despite his obvious love for Patrick, he is reluctant to move his life back to Manchester and accept a life of pain at the hands of the past.

Kenneth Lonergan's Manchester by the Sea is not only devastating in story, but devastatingly beautiful as a whole. The atmospheric film set in the coastal New England town masters the art of modern tragedy and the Charles Chaplin quote "Life is a tragedy when seen in close-up, but a comedy in long-shot" represents the film perfectly.

Manchester by the Sea is brilliantly written and directed by Lonergan as it captures the intensity of never-ending grief, guilt and heartbreak that accompanies a traumatic event, such as the one experienced by Affleck's Lee and his ex-wife, Randi (as portrayed in a stellar performance by Michelle Williams). However, the screenplay emphasises the fact that the absurdity of life does not disappear in tragedy and although humour is lost in the eye of the beholder, it is still there, as is seen in various surprisingly amusing scenes in the film (eg. losing the car and the frozen chicken scene). This inclusion of humour in the tragedy is such an achievement as the film does not lose any of it's emotional impact as a result of these fleeting, but effective moments of amusement. Rather, it adds to the realism and enjoyment of the film.

The film is exceptionally character driven with it's large focus on human interaction and relationships. Casey Affleck as protagonist, Lee Chandler gives an extraordinary performance as the man who has lost all that he ever cared about and despite having tried to move on, cannot do so in Manchester where everyone knows everything about each other. The character development is exceptionally strong with Lee as the film allows us to feel the extent and depth of his change in response to his life-altering events. Affleck is truly remarkable as Lee. He gives an emotionally powerful, yet restrained performance which naturally channels a broken man trying to navigate his way through life and find meaning once again.

Although Michelle Williams is truly heartbreaking as Randi, it is the chemistry between Affleck and Lucas Hedges, who plays Patrick, that is one of the great highlights of the film. Although Lee has been away from his nephew, the two are so alike at times that they clash and at other times they lift each other up. Their dialogue is perfectly timed and often witty and hilarious, but they also share some truly beautiful and heartfelt scenes.

Manchester by the Sea is by all means not the feel good film of the year, but it proves that sometimes even a harsh outcome can be gratifying if the film is crafted with the sheer perfection that this one is.

9/10

Interstellar (2014) film review

Year: 2014
Running Time: 169 minutes
Director: Christopher Nolan
Writers: Jonathan Nolan and Christopher Nolan
Cast: Matthew McConaughey, Anne Hathaway, Jessica Chastain, Michael Caine, John Lithgow, Casey Affleck, Mackenzie Foy, Ellen Burstyn, Topher Grace

Interstellar opens in Australian cinemas on 6 November and is distributed by Roadshow Films. Opening in the United States and United Kingdom on 7 November.

Christopher Nolan's highly anticipated Interstellar is an incredible thought-provoking, visual event that simultaneously examines the scientific complexity of time relativity in space travel and the emotional depth and strength held by those directly impacted. The film is a visual masterpiece with incredible sound editing and score that support a highly intelligent screenplay that is particularly Nolan-esque. The impressive cast led by Matthew McConaughey give Interstellar the emotional backbone which allows this film to project itself into a class above other sci-fi and futuristic films.

In the future, the human race has come full circle and once again places its importance on what the land can give us rather than on technological advances, but even the land is turning on the human race. It's a world that doesn't sit well with father of two, Cooper (Matthew McConaughey), who wants to be out exploring the world and it's skies. His chance comes when he and his daughter, Murphy (Mackenzie Foy) stumble upon NASA's secret headquarters and learn that they have discovered a wormhole near Saturn that leads to another galaxy where there could be another planet suitable for human life. Leaving behind a distraught and angry Murphy, Cooper sets out on the Endurance to search this galaxy for a new home for the human race while fighting against time and the dangers that space and these new worlds present.

Although Interstellar is reminiscent of Stanley Kubrick's 2001: A Space Odyssey and last year's Gravity for the obvious reasons, it is unique for what it brings to the group which the two mentioned films belong to. It is certainly a complex scientific film which must be applauded for it's intelligence and the originality of the journey which it's characters embark on. The real enemy of the film is time as the time in space and in distant galaxies can differ greatly from time on Earth. It is an intriguing concept, but also a very frightening one when it is realised how much is missed on Earth after so little time has passed in space.

This is where the emotional core of the film comes from. The characters come to realise that love transcends time and they all fight against time for those they love. While Interstellar is thought-provoking on a scientific level, it is also so on this emotional level. The idea of leaving ones family without the knowledge of whether or not they will return and not knowing whether they will be able to contact them is both unsettling and disturbing as it connects with the audience on such a personal level. It also prompts the audience into wondering what they would do in Cooper's situation. If you had the chance to find a way to save your family but there was no guarantee of ever seeing or hearing from them again, would you do it? When the question is asked, the answer would most probably be yes, but in Interstellar we see how much agony it would be to feel the separation.

At nearly three hours long, Interstellar does well to maintain tension and remain intriguing for this amount of time, yet at times the length is felt. Nolan has really attempted to pack as much action, emotion and information into the film as he possibly can and while this is admirable, there is still the feeling that things are missing as a result of other things being included. At such a running time, it is obvious that Nolan could not include any more in than he already had so there are some holes in the story as a result and hard facts are missing as to how and why things are this way on Earth. There are tinges of disbelief throughout the film and the notion that things may be getting a little too far-fetched, but Interstellar is not a prediction of what is to become of the human race as much as it is a piece of entertainment about the future of the human race.

Interstellar is just brilliant in it's production. Christopher Nolan shot the film using 15/70mm IMAX cameras so it is intended to be watched on such a screen and this is definitely how one will get the most out of the film. Like the film itself, many of the frames are quite complex in an interesting and positive way as there is so much to take in. While there are some glorious landscape shots, it is the CGI employed for the scenes in space which are truly memorable and exquisite. It is a gentle reminder of how beautiful the galaxy is while dangerous. The score by Hans Zimmer is also perfection and adds to the suspense of the film brilliantly. However, some may find the film a little overpowering in it's volume and high speed and erratic camera movements in it's action sequences.

Matthew McConaughey is truly wonderful as Cooper and has an incredible presence on screen. The audience takes to his character in a way which they feel a real emotional connection to him and they care a great deal about what happens to Cooper during the film. While he is a tower of strength for the majority of the film, it is in the moments which the character is at his most vulnerable that are the strongest for McConaughey. It is truly devastating and haunting watching Cooper leave his children and then receiving messages from them while on aboard.

Anne Hathaway does very well as Amelia Brand and her character continually grows on the audience throughout the film. Jessica Chastain is also very good as the adult Murphy, yet Mackenzie Foy who plays the younger version of her character gives an extremely powerful performance for such a young age. Foy and McConaughey work incredibly well as the father and daughter team and one feels the tragedy on a personal level of these two being separated.

Interstellar is a cinematic event that encourages it's audience to use their heart and mind when watching. Although not perfect on every level, it is memorable for the things it does to perfection.

8/10

Well done MTV...but are we ready for gender neutral awards?

On April 6, the nominations for the 2017 MTV Movie and TV Awards were announced with one glaring difference from other years and other award shows...the acting categories had gone gender neutral.

Both the Best Actor in a Movie and Best Actor in a Show categories this year contain both male and female nominees, a move that has not been seen before in major award shows (with the exception of the Grammys and Britain's National Television Awards). A split right down the middle occurred with the Film nominations with three male and three female actors in contention, while four females were nominated in the Television show category and two males. Although the MTV Awards do not carry the same prestige as other award shows (Academy Awards, Golden Globes, Screen Actors Guild Awards, etc.), it is a move that certainly shows a move forward in gender equality in Hollywood and the entertainment business.

While this move for the MTV Movie & TV Awards is a very positive one, it makes one ponder whether the idea could catch on and other award shows follow suit. It would definitely be a strong stand for women and one many would embrace and celebrate. MTV can be commended for making such a strong statement and as the awards are voted for by the public, it would not be a surprise to see Emma Watson, Hailee Steinfeld or Taraji P. Henson voted for as the winner for this reason.

However, could this move by MTV encourage other award shows to become gender neutral?

The answer isn't no...it is not yet.

This has nothing to do with the quality of male and female actors in the business. Talent wise both genders are without a doubt on par with one another. The problem lies with lack of substantial roles available to women in Hollywood, especially in film. This is not a new argument. Mary Pickford said in 1935 "It’s becoming a woman’s world, year by year, almost day by day". This still rings true, but more than 80 years later we are still fighting for gender equality in Hollywood in regards to the number of strong female roles among other issues. We have come a long way, but there is still a long way to go.

Believing that there should or should not be gender neutral acting categories when awards season rolls around has nothing to do with sexism or feminism, it has to do with fairness. While the quantity of these strong female roles is significantly less than that of males, it would make it a great deal harder for females to compete and win an Oscar or any other award with gender neutral categories.

For example, let's look at this years Oscars in the four acting categories. All four categories had wonderful performances by incredible actors, but the two male categories were seemingly more competitive than the female categories. Both the female categories had clear frontrunners for the majority of the awards season with the other eight nominees giving very good performances, but not strong enough to be competition. On the other hand, the male categories (especially Best Performance by an Actor in A Leading Role) went down to the line on the night as a result of the several incredible performances in strong and intense roles.

So this would have meant that this year Casey Affleck would have been directly competing with Emma Stone and Mahershala Ali with Viola Davis. These would have no doubt been intriguing and unpredictable competitions, but one would fear that the actual nomination fields would have consisted more of males than of females.

The good news is that things are changing in Hollywood as we speak....unfortunately just not as quickly as we would like. There may well be a chance in the future to combine the male and female acting categories at prestigious award shows, but that day is not today. If it was to happen, it would most definitely shorten the length of award shows, which would make many people happy. The other argument here is that many creatives prefer not to label themselves as male or female so eliminating gender specific categories is more politically and socially acceptable.

Without a doubt, it is a great move by MTV to make their awards gender neutral and they deserve praise for initiating a giant step towards gender equality in the film world. It may not be time for the bigger and more prestigious industry awards to do the same, but that day is coming.

The Time Between the Oscar Nomainations Announcement and the Oscars- The things which are a given.

And we are off! Welcome to the official start of Oscar season!

Yesterday the nominations were announced for the 89th Academy Awards, which are to be held on Sunday February 26 at the Dolby Theatre in Hollywood. Today, all the talk has been about La La Land receiving an incredible 14 nominations, Meryl Streep once again beating her own record with her 20th nomination, the abolishment of #OscarsSoWhite in glorious fashion and tales of where all the nominees were when they found out the news. Our favourite nominee story is that of Lin-Manuel Miranda, who chose to watch the Roger Federer Australian Open tennis match rather than the nominations announcement.

It's an extremely exciting time for all who live and love film. The nominations announcement is like Christmas morning for film fans and the actual Oscars is the event of the year when you shed a tear at seeing your favourites honoured in the most amazing way possible.

However, what happens during the month between those two days is....how do I put it....interesting to say the least. There are certain things that happen and are talked about that are just a given in every Oscar season I'm not talking about how Hollywood and it's stars prepare for the big night and the parties that take place all week, but the things that you probably didn't even think about that take place every single year without fail.

Take a read and then try not think about this list next time you see an example of one of these!

Those who suddenly appear out of oblivion to have their say on EVERYTHING
Now everyone on social media will know exactly what I am talking about here. These are the people who show no or little interest in film all year until award season...then they all come out of the woods and have to vocalise their thoughts on all the nominees, the snubs, the Academy itself and then...why not....any conspiracy theory involving Hollywood and film because it just seems convenient.

To be honest, these people are generally the type to give their opinion on everything anyway so you shouldn't have too many problems identifying them. However, there is one thing an Awards Cynic will always say that makes them easy to recognise and this is:-

"I don't care about the Oscars, but...."

OK, if you are going to say something relating to the Oscars, you obviously do care enough if you feel you need to say something. If you really don't care about the Oscars, who don't you just roll your eyes and move along?! The internet has given everyone the ability to have a say about what they believe, but Oscars season always see's the appearance of those who are vocal film buffs for a month and really don't care about film for the other 11 months of the year.

These Award Cynics also flock to Twitter during the Oscars telecast to criticise everything about the event. The performances are terrible, the fashion isn't what it used to be, the winners aren't deserving, the host isn't funny.....etc,etc. Their pessimism is so overwhelming that paying attention to them almost puts you off the Oscars yourself...almost.

People start treating films like football teams
This is one feature of award season that I've noticed this year more than others, but it isn't by any means mutually exclusive to 2017.

So we have a pool of nine films in the Best Picture category. Right now, there are clearly two frontrunners and the dark horse. This doesn't sound to different to a football competition really. Seriously, people are either Team La La Land or Team Moonlight, with a few also being Team Manchester By The Sea. And this isn't just film fanatics taking part in this, the media has a large part to play in taking sides.This doesn't sound too bad, but people have been getting so passionate about these teams on social media that it is quite disconcerting.

In one instance, a friend of mine was not a fan of La La Land and was subject to a crazy amount of tweets from fans of the film who weren't happy about her dislike, despite her having justified why she didn't like it. I liked the film, but really...we are all entitled to our opinions and just like a football team we support, it isn't going to directly have any effect on our lives if La La Land, Moonlight or Manchester By The Sea wins Best Picture. And guess what? You can actually like more than one of these films and not base your awards happiness on whether one of them wins!

The outrage over Oscar snubs
This is an absolute given after the nominations are announced. Every year there is outrage from fans and media outlets alike (and last year from Jada Pinkett-Smith regarding her husband) about who has missed out on being nominated and who has received a nomination who shouldn't have. This year most of the Oscar snub talk has been surrounding Amy Adams missing out on a nomination for Arrival.

However, with five places available in each nominated category (besides Best Picture), people are always going to miss out. There have been some true snubs over history, but personally I think the word "snub" is often overused when talking about someone who has missed out on a nomination. Missing out and being snubbed are not the same thing. Sometimes other films or performances were just a little bit better. Yet, saying it was a snub sounds so much better and is always a talking point in the days that follow the nominations announcement.

Those who Hollywood has condemned
This is another source of outrage that seems to happen if not every year, every few years. It's the notion of whether someone who has a past offence is worthy of becoming a nominee or an Oscar recipient. This year this nominee and probable Oscar winner who is the focus of this outrage is Casey Affleck. I'm not going to voice my opinion on whether or not the backlash he is receiving is justified, but this isn't anything new during Oscar season. Woody Allen has been subject to this backlash numerous times. There is also whispers about whether Mel Gibson should have been forgiven and received his nomination for Best Direction for Hacksaw Ridge this year.

Again, I won't give any personal opinions on this, but it is something many other people are happy to do. This is not anything new and often during this time the past lives of nominees get dragged into the spotlight.

The sudden rush to see all the nominees
The cinemas become alive again! Once a film becomes an Oscar nominee, they experience a whole new life at the box office. People rush out to see these films which are approved by the Academy as being award-worthy and therefore certified wonderful (although at the same time, many find out that just because the Academy nominates them, doesn't make them the type of film they will enjoy). Many films are re-released into cinemas once they are nominated for an Academy Award, so while many people will tell you that awards mean nothing, they certainly don't do any harm.

Let the betting begin!
So this is probably the most inevitable of the award season givens. Everyone likes the have a say about who is going to win each of the major awards and many like to hold tipping competitions. My advice is to follow the awards shows (particularly the guild awards) closely, as an upset very, very rarely comes out of nowhere. Avoid betting with your heart, as our personal favourites very rarely win. It's all about who takes the awards along the way.

Happy Oscars season everyone!

#Top10....with Rebecca Ryan

#Top10 is a brand new feature to Movie Critical. Each week we will be chatting to a film lover or a member of the film community about their #Top10 favourite films and discussing what makes these films so special to them. We all have different tastes in film and watch movies differently depending on who we are. The object of #Top10 is to share the love of film and hopefully you the reader can find some new favourites.

This week we spoke to Sydney based film-lover, Rebecca Ryan! Here's what Rebecca had to say....

My parents weren’t movie people, but I grew up watching a small handful of VHS tapes (The New Adventures of Pippi Longstocking, The Little Rascals, Milo and Otis, The Neverending Story, Drop Dead Fred, A Little Princess, The Secret Garden). Then I discovered a small video store on the corner of my street, so I started walking there and renting all the Olsen twins’ movies. But I certainly did not get much of a film education until I started working at a different video store around 2002 at age 14. As such, most of my favourites are recent films, and I have very significant gaps in my viewing – especially films released before the 1970s. 

I tend to fall for films which are quiet and intimate. I am drawn towards the representation of parenthood and childhood on screen, particularly things that allude to the impact of upbringing and household dynamics. I will quite easily overlook minor issues with screenplays or performances, so long as a film nails it's cinematography. Yet I want to be challenged by film. I want it to make me question life. I want to see the world through the eyes of another, and change my own worldview in the process. 

The Virgin Suicides (1999, Sofia Coppola)

On high rotation in my house as a teen, The Virgin Suicides is perfect for a melancholic Sunday viewing. Then, as an angsty young teenager stuck in a small regional town, I saw it as an on-screen representation of the suffocation I was feeling. Yet there is something beautiful and idyllic about teenage imprisonment here – frilly dresses, living room-sized bedrooms, and Josh Hartnett-faced love interests. It is perhaps not as objectively good as it is dear to me, but it’s an impressive feature debut from Sofia Coppola and it will always be my absolute favourite.

The Tree of Life (2011, Terence Malick)

A delicate portrayal of an at-times brutal childhood, The Tree of Life is Malick’s finest. As far as I’m concerned, the present day scenes have very little value. However the film’s exploration of childhood and memory in dream-like flashes lets you sway through the life of another with an intimacy unlike any other film. Jessica Chastain is grace personified, as an angelic mother figure whose purity radiates and washes over me like warm light. It represents the solace a child finds within the arms of his mother, especially in a home filled with so much tension and fear. It’s not a film to be intellectualised, but experienced and felt. 

Notting Hill (1999, Roger Michell)

I don’t remember seeing this for the first time, because Notting Hill feels like a movie that I have always known. It’s probably my most watched film of all time, and I am sure I had already clocked at least 100 watches by the time I graduated high school. There’s nothing great about the plot, or the filmmaking, or even the performances (though Julia Roberts is great), and yet it is still somehow perfect to me. And there is a scene which I swear is inspired by Katharine Hepburn’s 1942 film Woman of the Year, though I’ve never seen anyone else mention it.

Carol (2015, Todd Haynes)

Obsessive love for Carol has almost become an internet meme at this point and it’s difficult to separate the film from the chaos surrounding it, which is a bit of a shame because it can certainly stand on its own. Todd Haynes has never been better (although Safe is a deserving second), and nor has Cate Blanchett, which is high praise for such an amazing career (my meagre words can do her no justice, so I will not attempt it). I love just about everything about this film – the performances, the styling, the music, the cinematography. But it is more than the sum of its parts, and those final moments leave me with a heaving chest every time.

Etre et avoir (To Be and to Have) (2002, Nicolas Philibert)

Certainly the most under-seen film on this list, Etre et avoir (To Be and to Have) is a quiet observational documentary taking place in a one-classroom school in rural France. It is genuine and patient, allowing an insight into childhood and the work of teachers, but it is not looking to make any grand statements about life – rather focusing on these students and this teacher. The best word to describe this film is ‘special.’

Arrival (2016, Denis Villeneuve)

Arrival is such a small story inside such a big story, then somehow it’s an even bigger small story. It’s about the very essence of life and is questioning some of the greatest aspects of being, memory, and time. Although better on rewatch, it’s a film that I cannot bring myself to waste. It’s not a throw-on-in-the-background kind of film; it’s best when you’re able to give over a part of yourself, allow it to run away with you, spin you about, and gently cradle you by its end. If you allow it to, Arrival can change the way you think about life.

A Ghost Story (2017, David Lowery)

An exploration of time, place, loss, longing, and being, A Ghost Story is doing a lot with very little. It’s best to go into this one blind, so I won’t go into much detail and I’ve only seen it once....there’s too much to unpack in one viewing. It’s doing something quite unique, and I’m desperate to see it again. I suspect it will get reduced to comments about Casey Affleck under a bed sheet or “the film with the pie”, but there is so much love and patience in this film, giving its audience time and space to ponder. A great companion piece to Arrival. 

The Curious Case of Benjamin Button (2008, David Fincher)

With a rare delicate touch from David Fincher, follow the life of Benjamin Button from birth until death. It’s an unusual life, but the most interesting thing about it is not his aging backwards, but rather the people he meets throughout. There’s an overarching theme of time slipping through Benjamin’s fingers, just as it is through all of ours. The way time passes is both beautiful and quietly devastating. The romance between Benjamin and Daisy is probably my favourite one on screen, as it explores the curse of circumstance, cherishing moments, and allowing love to take hold. 

Celeste and Jesse Forever (2012, Lee Toland Krieger)

A realistic portrayal of the dynamic nature of love, where romantic love and friendship are intertwined and how relationships often dance between the two. It’s incredibly bittersweet. Rashida Jones and Andy Samberg are two of my favourites and they’ve never been better than here, managing performances with just the right amount of humour, vulnerability, and heartbreak. It’s a breakup movie, but you don’t need to be in the middle of a breakup to watch it and cry, and laugh, and laugh-cry. 

Adam's Rib (1949, George Cukor)

I had to include a Kate Hepburn in here, and this is probably my favourite. She’s doing what she does best – verbal jousting and chemistry with Spencer Tracy. It’s a sort of almost-feminist story of a husband and wife competing in the court room, representing opposing parties in an attempted murder case. Don’t overthink its message – it doesn’t hold up – but just enjoy it for its screwball comedy nature. And then watch The Philadelphia Story, Desk Set, Woman of the Year and Bringing Up Baby. These are the movies I wish I grew up with....sorry, Olsen twins.

The almost-made-its: The Philadelphia Story, It’s a Wonderful Life, Blue Jay, Like Crazy, Paper Moon, 10 Things I Hate About You, Blue Valentine, Doubt, Brief Encounter, Life is Beautiful

12 Films that should be on your Sydney Film Festival Wishlist

After the lanch of it's always wonderfully diverse and exciting program last week...the countdown is on to the 64th Sydney Film Festival!

The festival, which will run from June 7-18, is growing every year and this year promises to be a greater celebration of cinema and it's magic than ever before. Although the festival itself is one of the oldest in the world, the Official Competition is in it's 10th year and this year 12 films are all in the running for the coveted winner title. This year will see the return of the ever popular Festival Hub and special guests include such names as David Wenham, Ben Mendelsohn, Vanessa Redgrave, Bong Joon-Ho and many more.

With 288 films from 59 countries being shown during this year's festival, there is something for everyone to see. Movie Critical has put together a diverse list of 12 films that should be on your wishlist for this year's festival and even if you feel like all 12 are not your cup of tea, you will be sure to find a couple that will make your festival experience all the more enriching.

#1 The Beguiled

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Straight from it's premiere at the Cannes Film Festival, Sofia Coppola's much anticipated The Beguiled will be competing in competition at the Sydney Film Festival. Adapted from the Thomas Cullinan novel of the same name, the film is set during the Civil War at a Southern girls boarding school where a mysterious injured soldier (portrayed by Colin Farrell) arrives and disturbs the peace. The Beguiled has an incredible cast which includes Nicole Kidman, Farrell, Kirsten Dunst and Elle Fanning and holds the promise of being visually delicious and stunningly atmospheric. It is Coppola's first film since 2013's The Bling Ring, which was also part of the Sydney Film Festival that year.

Screenings:  Saturday June 17 (State Theatre)
                      Sunday June 18 (State Theatre)

#2 My Life as a Zucchini

My Life as a Zucchini is part of this year's Family Films program at the festival and is a must see. Claude Barras' film was nominated for Best Animated Feature at this year's Academy Awards and the Sydney Film Festival will be screening both the French version with subtitles and the English version for younger audience members. This unique stop-motion animation tells the tale of young Zucchini as he finds his way as a recent orphan and deals with important issues in a non-threatening, but realistic way which members of the whole family can enjoy.

Screenings: Saturday June 10 (Event Cinemas George St)

                     Monday June 12 (Casula Powerhouse)

                     Saturday June 17 (Dendy Newtown)

                     Sunday June 18 (Event Cinemas George St)

#3 I Am Not Your Negro

I Am Not Your Negro is an absolute must see. Raoul Peck's Oscar nominated film is part of the Official Competition and won the People's Choice Documentary Prize in Toronto. The film uses the intriguing works of James Baldwin and the writings he wished to put into his unpublished book regarding black rights. Baldwin's own words are narrated by Samuel L. Jackson and archival footage is used to bring extra meaning to Baldwin's words. I Am Not Your Negro is highly relevant even today. Producer Hebert Peck will be a guest at the festival and will be participating in an extended Q&A following the Tuesday screening.

Screenings:  Monday June 12 (State Theatre)

                      Tuesday June 13 (State Theatre)

                      Saturday June 17 (The Ritz Cinema Randwick)

#4 Ellipsis

Australian film royalty, David Wenham makes his feature film directorial debut with Ellipsis, a sweet and endearing love letter to Sydney. The film follows Viv (Emily Barclay) and Jasper (Benedict Samuel) as they get to know each other while taking in the sights of the city from Bondi to Kings Cross. Made in the same fashion as Richard Linklater's Before Sunrise, the film was shot in only ten days. Wenham will be on hand to introduce his film and is also the special guest at the Ian McPherson Memorial Lecture with David Stratton.

Screenings: Thursday June 8 (Event Cinemas George St)
                     Wednesday June 14 (Event Cinemas George St)

#5 The Little Hours

After screening earlier this year at Sundance Film Festival, The Little Hours promises to shock with it's ballsy story of raunchy and atypical nuns in a 14th century convent who wreck havoc on their home when a new workman arrives. The Jeff Baena written and directed film has a unique brand of comedy that could either insult or leave people in hysterics with it's notable cast including Alison Brie, Aubrey Plaza, Kate Micucci and Dave Franco.

Screenings: Wednesday June 7 (Event Cinemas George St)

                     Friday June 9 (Event Cinemas George St)

                     Saturday June 17 (Event Cinemas George St)

#6 Whitney: Can I Be Me?

A film not just for fans of the late and great diva, Whitney: Can I Be Me is a comprehensive and touching look at a talent taken all too soon. Nick Broomfield's (who will also be attending the film festival) latest documentary explores the life of Whitney Houston with never before seen backstage footage and revealing interviews with the woman herself, friends and those she worked with. Of course, it is also a celebration of her music and much of which is included in the film.

Screenings:  Wednesday June 7 (Event Cinemas George St)

                      Friday June 9 (Dendy Newtown)

#7 Rip Tide

Rip Tide will be making it's World Premiere at Sydney Film Festival on Saturday June 10 and is the perfect film for young adults with it's focus on the moment you take control of your life and decide who you want to be. Filmed on the Illawarra coast, Disney star Debby Ryan makes her Australian debut in a film that embraces life, romance, friendship and, of course, surfing.

Screenings:  Saturday June 10 (Event Cinemas George St)

                     Monday June 12 (The Ritz Cinema Randwick)

#8 Manifesto

Cate Blanchett absolutely stuns in Manifesto, a film made to honour some of the most influential art manifestos of our time. Blanchett is an absolute chameleon playing 13 different roles from a homeless man to a newsreader in Julian Rosefeldt's film and she was met with overwhelming praise when the film debuted earlier this year at the Sundance Film Festival.

Screenings:  Thursday June 8 (Hayden Orpheum Cremorne

                      Monday June 12 (Event Cinemas George St)

#9 We Don't Need A Map

Warwick Thornton's We Don't Need A Map is not only the festival's Opening Night film, but also part of the Official Competition. The Southern Cross is an image almost as recognisable and iconic as the Australian flag, but Thornton explores in his documentary the true meaning behind the constellation to the people who have been here longer than us and works to understand it's symbolism. A film that is informative, but also wildly entertaining with a wide range of footage and visuals. Warwick Thornton will be on hand to present his film at the festival.

Screenings:  Wednesday June 8 (State Theatre)

                      Sunday June 11 (State Theatre)

                      Tuesday June 13 (State Theatre)

#10 The Other Side of Hope

Also in competition at the festival, The Other Side of Hope is highly relevant as it shines a light on the Syrian refugee crisis. However, Aki Kaurimaki has achieved the incredible task of taking this tragedy and creating a respectful and amusing comedy. His film follows the unorthodox friendship between a Syrian refugee and the manager of a restaurant he finds work in. Sherwan Haji, who plays refugee Khaled will be a guest at the festival.

Screenings:  Sunday June 11 (State Theatre)

                     Monday June 12 (State Theatre)

                     Sunday June 18 (Hayden Orpheum Cremorne)

#11 Okja

The first ever Netflix film to appear at the Cannes Film Festival, Okja is the Sydney Film Festival Closing Night film and one of the only chances you will get to see it on the big screen. Despite the film being shrouded in controversy due to the tense relationship between Cannes and Netflix, Bong Joon-ho's film has been met with praise due to the unexpectedly sweet relationship between a girl and her best friend who just happens to be a super-pig. Also starring Jake Gyllenhaal and Tilda Swinton, Okja is a spectacular way to finish your Sydney Film Festival experience.

Screenings:  Sunday June 18 (State Theatre)

                     Sunday June 18 (Event Cinemas George St)

#12 A Ghost Story

Shot in secrecy, A Ghost Story is a quiet film that looks at love and loss in the most unique of ways. David Lowery's film tells the story of a widow (portrayed by Rooney Mara) who is visited and watched upon by her late husband (Casey Affleck) as she learns to mourn and move on. A Ghost Story promises to be haunting, but beautiful and memorable.

Screenings: Tuesday June 13 (State Theatre)
                    Friday June 16 (The Ritz Cinema Randwick)
                    Saturday June 17 (Dendy Newtown)