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Issue Details: First known date: 2015... no. 184 Autumn 2015 of Metro Magazine est. 1968 Metro Magazine
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Notes

  • Contents indexed selectively.

Contents

* Contents derived from the 2015 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Taking the Plunge : Russell Crowe's 'The Water Diviner', Brian McFarlane , single work criticism

'In 'The Water Diviner', Russell Crowe - who also directed the film - plays a father searching for the sons he had lost in the war. But according to Brian McFarlane, Crowe's directorial debut also highlights how historical distance allows us to reconsider the ANZAC legend and how search narratives inevitably offer characters more than what they're looking for.'

Source: Abstract.

(p. 6-11)
Special Delivery : Tony Mahony and Angus Sampson's 'The Mule', David Crewe , single work criticism

'Instead of a downtrodden victim dogged by goons and government officials, in 'The Mule' we see a drug smuggler with the guts to 'hold on' and extract himself from his sticky situation. According to David Crewe, the film also reveals some clever cross-genre writing, a commentary on Australian inertia and a keen ability to capitalise on new film-distribution opportunities.'

Source: Abstract.

(p. 12-17)
Forging New Lives : Ian Pringle's 'The Legend Maker', Dave Hoskin , single work criticism

'The 'problem' of border security is often raised in Australian politics, but the plight of asylum seekers and those who help them is rarely depicted in narrative cinema. 'The legend maker', a film about a forger who gives refugees new futures by re-envisioning their pasts, shines a light on these topical issues and puts a human face to the demonised figure of the people smuggler.'

Source: Abstract.

(p. 28-31)
A Universal Malfunction : Technology and Humanity in 'The code', Cavan Gallagher , single work criticism

'What, exactly, is the relationship between humans and technology, and how do machines and screens enhance or eliminate our humanity? Cavan Gallagher examines how ABC series 'The code' answers these and other hard-hitting questions relating to crime, corruption, grief and community.'

Source: Abstract.

(p. 32-36)
A Thousand Lives Together : 'Soul Mates'., Elizabeth Flux (interviewer), single work interview

'Touted as a 'time-travel bromance', 'Soul Mates' - a six-episode series by the creative team behind 'Bondi Hipsters' - depicts the dynamics of friendship across time, spanning the stone age through to the not-too-distant future. Elizabeth Flux speaks to Nick Boshier and van Vuuren brothers Christiaan and Connor about their hilariously offbeat show.'

Source: Abstract.

(p. 38-41)
Refracting Ramingining : 'Still Our Country – Reflections on Culture', Laurence Barber , single work criticism

'Whereas Rolf de Heer's 'Charlie's country' weaves a tale of one man's hardships and displacement from his aboriginal community, Molly Reynolds' complementary documentary exposes the real-life troubles faced by the Yolngu people of Ramingining. Laurence Barber unpacks these societal problems, as illuminated by this aesthetically immersive, obliquely political work.'

Source: Abstract.

(p. 70-75)
Seeing Afghanistan with New Eyes : 'Love Marriage in Kabul', Emily Laidlaw , single work criticism

'Buildings in tatters, barren desert, battered bodies and a brutal military are the images that often come to mind when Afghanistan is brought up in conversation. but Amin Palangi's 'Love marriage in Kabul', which chronicles a conventional love story alongside a story of coming together between east and west, urges us to challenge our preconceptions about the War-torn country.'

Source: Publisher's blurb.

(p. 76-79)
Post-apocalypse Now : Australia as Cinema's Dystopia, Glenn Dunks , single work criticism

'Australia has long enjoyed a relationship with the notion of the end of the world, with an array of texts situating such a scenario on the island continent. Glenn Dunks explores the lineage of the Australian post-apocalyptic film and dives into each title's take on how the world's downfall arrives down under.'

Source: Publisher's blurb.

(p. 90-95)
Actors and Heroes : My Brother Jack and the Great War on Television, Anne Pender , single work criticism

'It has been fifty years since the ABC adapted George Johnston's novel 'My brother Jack' for the small screen. With commemorations of World War I at the forefront of Australia's national agenda for 2015, Anne Pender asserts that the series, along with network ten's telemovie adaptation of the same novel, is worthy of renewed attention.'

Source: Abstract.

(p. 96-101)
Jedda, Rose Lucas , single work criticism

'Charles Chauvel's final film, Jedda, has become iconic within the history of Australian cinema. Released in 1955, during a period when 'assimilation' was becoming the widely held policy of states and the Commonwealth in relation to the Indigenous population, Jedda grapples directly with the nation's ongoing questions about how 'Aboriginality' might be defined and understood, and about what the future for Australia's Indigenous inhabitants might look like. While very much an ideological product of its time, Jedda provides some surprising insights into complex cultural issues, while also presenting a narrative that revels in the particularities of Australia's outback landscape. Moreover, Jedda can claim a number of firsts: it was the first film by an Australian director made in colour, the first to use Indigenous actors (and indeed non-professional actors in leading roles), the first film to make such striking use of outback landscapes, and the first Australian film to be invited to the Cannes Film Festival.'

Source: Publisher's blurb.

(p. 102-111)
Capturing Romance : Jim Lounsbury and Behren Schulz on 'Love is Now', Oliver Pfeiffer (interviewer), single work interview

'Aussie 'summer romance' drama Love Is Now (2014) - starring Eamon Farren as grief-stricken photographer Dean, who cycles through the New South Wales Harvest Trail alongside free-spirited love interest Audrey, played by Claire van der Boom - is unique in terms of both its method of filming and its local distribution strategy. I speak to writer/director Jim Lounsbury and producer Behren Schulz about their film.'

Source: Abstract.

(p. 118-121)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 20 Dec 2016 10:46:39
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