Not sure what to watch at this year’s Mardi Gras Film Festival? With 120 films showcased this year, it can be hard to know where to start. We’ve got recommendations from the festival’s director herself, so you know you’ll only be watching the best of the best.

So that you can say you watched it first

Night Comes On

— Sun 24^th Feb 7:30pm

A film that shows that there’s more to the queer experience than same sex attraction. Follow the journey of Angel as she readjusts to life on the outside after a year in prison. A queer story without the romance, this film is part heart-warming drama, part revenge plot. According to Festival Director Lisa Rose ‘a top quality, suspenseful drama.’

That one film everyone’s been talking about

Rafiki

— Thurs 28^th Feb 7:00pm

Rafiki is the first Kenyan film to ever be shown at the Cannes Film Festival, and was promptly banned in its home country due to its ‘clear intent to promote lesbianism in Kenya’, where homosexuality is illegal. Rafiki explores the love between Kena and Ziki, despite politics and family pressures. Rafiki will bring a powerful close to this year’s Mardi Gras Film Festival.

If you want a familiar face

Mapplethorpe 

— Sat 16^th Feb 6:30pm

— Fri 22^nd Feb 8:30pm

You thought Matt Smith’s Doctor Who was queer? How about gay icon Robert Mapplethorpe? A tribute to the man who captured the beauty found in queer individuals, this award winning explores both Mapplethorpe’s artistry and his sexuality as he struggles to achieve fame and recognition for his work.

Real Queer Life

Man Made 

— Sat 16^th Feb 6:00pm

Sexy, strong, shirtless men? Yes. Stories of the resilience and strength of the trans community? Double yes. In what Lisa Rose called ‘one of the feel-good films of the festival’, discover what makes a man as you watch four men prepare for the only body building competition for trans men.

If you want to be challenged

Consequences

— Sun 17^th Feb 8:00pm

— Mon 25^th Feb 6:30pm

‘If you like hard hitting films, then you’ll love this,’ according to Lisa Rose. Hyper masculinity and homophobia are put under the lens in ‘Consequences’, a film which follows a young Andrej’s journey to a youth detention centre. Overwhelming in it’s energy, and unapologetic in its examination of adolescence for gay men.

The post The Best of Queer Screen appeared first on VERTIGO 2020.

Cover image: Ady Neshoda | @adyneshoda

Nicolas Cage has gifted this world so much, most of which are reaction images used in group chats. After 55 years on earth, Cage has created an impressive oeuvre of films to go along with his interesting facial expressions. In ode to him, on today — the day of his birth — we watched six of his most iconic movies, so you don’t have to. 

Caution: (mild) spoilers ahead!

National Treasure

Like a true Capricorn, Nicolas in this movie is patient and disciplined, but with a bit of a stubborn streak. It’s pretty predictable, with some bizarre dialogue choices, and a laughable hetero romantic subplot (there’s a 12 year age gap between old Nic and Diane Kruger, and also she’s an actual model). That being said, it’s a brainlessly fun movie that you can watch on the couch while cruising Instagram without missing much.

Best line: “I’m gonna steal the Declaration of Independence.”

Raising Arizona

My dad says this movie is ‘quirky’, and although you wouldn’t think a film by the Coen Brothers that’s essentially about kidnapping would be too zany, it really is. One of the most exciting parts is listening to Holly Hunter, who voiced Elastigirl, say her lines and pretend it’s the path Mrs Incredible could have gone down if she made her living stealing babies instead of superheroing.

Best line: “I’ll be taking these Huggies and whatever cash ya got.”

Kick-Ass

I honestly forgot Nicolas Cage was in this movie, although after watching it again, the scene where he basically melts to death should have given it away. He plays a character called Big Daddy (ew) with a genuinely moving backstory that serves to humanise him, but not so far that I don’t resent him for turning his daughter into an assassin at the expense of her childhood. Also, that cute boy from Angus Thongs And Perfect Snogging is in this!

Best line: “Tool up, honey bunny. It’s time to get bad guys.”

Ghost Rider

Watching this movie feels like astral-projecting into the body of a 14-year-old boy. Best paired with a litre of Passiona and several bags of chips, Ghost Rider boasts an impressive combination of stunt motorcycle riding, demon bounty hunting, and kissing with Eva Mendes. As if this weren’t enough to convince you, Spiderbait is on the soundtrack.

Best line: “Yeah I’m good, feels like my skull’s on fire, but I’m good.”

Moonstruck

A lot of the characterisation of Nicolas’ character in Moonstruck rests on him yelling, being sweaty, having chest hair, and baking bread. However, Cher’s performance was the source of most of my enjoyment of this film. Moonstruck is a classic underdog romance: girl meets boy, boy proposes to girl, boy causes brother to lose hand in freak baking accident, brother yells at girl a lot, girl and brother fall in love. A tale as old as time.

Best line: “I ain’t no freakin’ monument to justice!”

Adaptation

Alright, alright. This movie is actually good. Like, really good. Nicolas plays both a fixated, tortured writer (who can relate?) who is tasked with converting a book into a screenplay, as well as his own twin brother. It is genre defying, full of double and triple bluffs that leave you on the edge of your seat and totally absorbed. It does, however, feel like a strange fever dream watching Nicolas interact with himself for two hours, but I guess that’s just what you come to expect.

Best line: “I need a cool way to kill people. Don’t worry, for my script.”

The post Happy Birthday Nicolas Cage appeared first on VERTIGO 2020.

Pop the champagne, practice your Auld Lang Syne lyrics, and kiss a stranger, because 2019 is here baby!!! As the clock strikes midnight — and after you’re finished throwing up in the bathroom — start reaffirming your commitments the easy way.  

Here are the best movies to watch while nursing a hangover to get you in the mood to make and keep your resolutions.

Manifesting Money

Ocean’s 8

Heists, A-list parties, making lifelong friends…this is going to be your year. If you’re keen to start saving in 2019 don’t bother with budgets, progress accounts, or long term goals, just grab a couple of pals and scope out a $150 million necklace to apprehend, it’s less painful and time consuming.

Notable mention: Rihanna in that red dress. If you know, you know.

Health & Wellbeing

Catch Me If You Can

Sure, you could take up running, go gluten free, and do daily face masks while drinking green smoothies, but there is an easier solution. If Leo can fake his entire identity with a couple of wily stories about mice in buckets of cream, you can change your name and catch a flight to avoid going bouldering with your exercise-obsessed friends. 

Notable mention: ‘Do you concur???’

Conflict Resolution

The Godfather

Empathy? Active listening? Win-win solutions? Leave them all behind in the new year, you’ve got something better in mind. Follow the Corleones’ example and get creative — and direct — while settling your disputes. Just make sure to wear gloves, you don’t want to leave behind any admissible evidence.

Notable mention: all the times they talk about cannoli.

Finding Love

Gone Girl

If it’s romance you’re seeking in 2019, look no further than Amy Dunne’s example: she knows her worth, is driven and goal-oriented, and tireless in her pursuit of l’amour. As important as finding that special someone might be, this year should be focused on self-love, even if that means you’ve got to fake your own death in order to get it.

Notable mention: Cool Girl Monologue. Two minutes and 21 seconds of pure gold.

Cover image: Ady Neshoda | @adyneshoda

The post New Year New Me appeared first on VERTIGO 2020.

1. I’m Not There

2. Love & Mercy

3. Nowhere Boy

4. Slumdog Millionaire

5. The Motorcycle Diaries

6.  The World’s Fastest Indian

For your chance to win email editorial@utsvertigo.com.au with ‘The Man Who Knew Infinity’ in the subject line – and tell us who is your favourite scientist and why, in 25 words or less. Please include your name, student ID number, phone number and best contact method with your entry. The most creative response wins!

About the Film

In the tradition of ‘The Imitation Game’, ‘The Theory of Everything’ and ‘A Beautiful Mind’ – ‘The Man Who Knew Infinity’ leaps straight from the history books to the big screen to deliver an amazing true story about the genius of one man – self-taught mathematical icon, Srinivasa Ramanujan. Not only a story of numbers, but one of determination, passion, spirituality and the power of love & friendship.

In ‘The Man Who Knew Infinity’, Dev Patel stars alongside Jeremy Irons and explores the brilliance of a man many believed could decipher the very fabric of the universe – possibly existence itself.  Driven by his destiny for a greater calling, Ramanujan’s (Patel) life was turned upside down when Cambridge professor, G.H. Hardy (Irons) discovered his talents and plucked him from obscurity in his homeland of India. The pair would go on to become unlikely friends and make up one of history’s most bewildering and productive collaborations. As mathematicians they worked on the most complex problems known to man and much of Ramanujan’s work is still relevant in maths and science today.

——

Terms & Conditions

1.     Only one entry per person per competition.

2.     Must be a UTS student to enter.

3.     Competition closes 5 pm Friday 13th May.

4.     Winner will be notified by Saturday 14th May.

5.     Winner will need to collect prize pack during office hours from the UTS Students’ Association reception.

6.     The judges’ decision is final and no correspondence will be entered into.

      7.     Prizes cannot be transferred for cash.

The post The Man Who Knew Infinity + More – Giveaway! appeared first on VERTIGO 2020.

Peter Jackson’s last jaunt into the world of Middle Earth is a battle on many fronts: dwarves against dragons, wizards against wraiths — and Jackson against his previous work.

The Battle of the Five Armies begins where the last film left off. Smaug (Cumberbatch) is destroying Laketown while stalked by Bard the Bowman (Evans). At Dol Guldur, Gandalf (McKellen) is held prisoner, taunted by The Necromancer (also Cumberbatch). Seeing nothing between him and the gold of Erebor, Thorin Oakenshield (Armitage), his dwarves, and a nervous Bilbo (Freeman) lay claim, barricading themselves in for the inevitable bloodbath that is to follow.

At 144 minutes, the film is long compared to its source material of 46 pages. Bizarrely, some parts are very rushed — such as Smaug’s attack on Laketown or the potentially awesome battle pitting the White Council (Blanchett, Weaving, Lee, McCoy, and McKellen) against The Necromancer. Both are over far too quickly. Drawn out instead is the insufferable love subplot of Tauriel (Lilly) and Kili (Aidan Turner), and the battle that takes forever to start and longer to end.

Massive overuse of special effects combined with 3D usually frustrates the immersion necessary for watching most films, and the final installment of The Hobbit serves both up in spades. With this loss, other problems are amplified – Legolas (Orlando Bloom) is as wooden as the Ents of Isengard, and the constant use of slow motion is jarring. The writing is corny, with out-of-place cultural references and sometimes, it’s just plain bad. 

Despite all this, there are some positives. Freeman is outstanding as Bilbo, and his scenes with Armitage are fun to watch. Evans is also a standout as Bard, as is Lee Pace with his scene steals as the snobby Elven King Thranduil. The story, such as it is, is enjoyable, and does not conclude with the relentless pain of ending after ending, as was the case in Lord of The Rings: The Return of the King. 

Battle of the Five Armies serves as the dramatic finale to a process that began for Jackson with The Fellowship of the Ring in 1999. It is still fun and enjoyable to watch. It could be a good way to kill time over what may be a gloomy Christmas period. By the end of watching this you will want to re-watch Lord of the Rings, and in a literary sense, perhaps that’s the biggest plus this film has to offer.

Verdict: Not quite Lord of the Rings, but enjoyable enough. Watch it in 2D. 

Rating: 3 out of 5

Words by James Wilson

The post FILM REVIEW: The Hobbit: The Battle of the Five Armies appeared first on VERTIGO 2020.

Like every good, wholesome date, every film should have a good climax. The climax is important because it so often informs your wider opinion of the film and sticks in your mind when you leave the theatre. I’m a sucker for a satisfying climax, and I can forgive a lot of what’s come before if the ending leaves me red-faced and short of breath.

The Surprise Factor

Horror films often rely on their ability to climax in order to be crowd pleasers. The teasing and tension of the film’s first half should, when handled well, take the audience on a ride right through to a fulfilling finish. Up until one character picks up an axe, The Shining is creepy, nerve-wracking and suspenseful because Stanley Kubrick knows how to make us squirm.

D:

We’re a mix of nervous and confused as we’re drip-fed the story and left to question why Danny talks to his finger or why he sees two dead girls, or if any of that is even real. The action escalates to a dramatic and murderous chase before finishing on an uncertain note, leaving us to reflect in awe on Kubrick’s mastery, knowing we were never in control.

No! Not the wood panelling! Anything but the wood panelling!

The climax of the terrifically meta slasher flick Scream comes a mere 58 minutes in, as the ghost-face killer aims his knife toward the generic American teen house party. The audience slowly realises serious shit is about to go down, with a score of sneakily swelling strings that builds the suspense, and acting that marks how a character changes from innocent bystander to victim in seconds. With a climax that lasts 50 minutes and keeps you on the edge of your seat with suspense and surprise, ebbing and flowing through periods of action, you’re constantly wanting more. You want to know who is next, you want to know why and you want to know who the hell is killing all these kids.

Blow Your Mindload

Then there are the films that just pull the rug from underneath you, forcing you to question everything you’ve been emotionally investing in. M. Night Shymalan is a glutton for pulling this twist stunt at the end of his films, and has done so with varying degrees of success. On the one hand, you have the brilliance of The Sixth Sense, which builds to the thigh-shuddering climax of learning that a certain, frighteningly unbald guy is not what he seemed to be. It’s a little silly, but completely believable, and M. Night makes it work within the context of the story. Plus, it rewards repeated viewings, as you go back and look for all the signs you missed the first time.

But then you’ve got the terrible collection of moving images that pretends to be film, The Village, where the climax essentially comes out of nowhere, blowing its mindload before you’re even slightly ready for it. The climax does slightly redeem the turd-film that came before it, because it at least indicates that M. Night did put some effort and thought into the project. It’s still a turd, but a turd that makes you go back and think about everything leading up to its everything-is-not-as-it-seems ending.

The Long Haul

I cried way too much at the end of The Dark Knight Rises and – contrary to popular belief – that does not (always) mean there was a problem with the climax. And that’s because Christopher Nolan had done such an excellent job in making me care about his film and the character of Batman as a human with human flaws. But it wasn’t just the sympathy that got me going, it was also that The Dark Knight Rises is a bookend to a very definitive trilogy of films. In a time where blockbuster action series either churn out loud sequel after loud sequel because the money is too good for the director (Michael Bay) to turn down, it is so rare for a series to have a clear dramatic climax thanks to an incredibly strong overarching narrative. People take note: the only stories with good endings are the ones that take the time to build up to it. That’s innuendo for foreplay.

Toy Story 3 is also a fittingly wonderful and heartfelt conclusion to a beloved series about some talking product placements. The dramatic tension is ramped up considerably by a certain scene in a certain incinerator where certain main characters are faced with certain death.

But… I’m not ready to die. I’ve still got so much to live for — Woody: best friend, local cowboy and toy

For everyone who grew up with Toy Story, it was near impossible not to choke up as we watched Andy describe his favourite toys to their new owner, and listened to Randy Newman’s goofy yet nostalgic vocal stylings. Over time we came to care so much about the characters and their journey that it kind of stopped mattering where they were going. The climax is always more satisfying when you get there with friends.

Begging For More

Then we have the films that stop short of a satisfying climax, teasing us with a build-up and then killing the mood like your curious roommate who thought he heard “some weird noises in here”. Classic romantic comedy Roman Holiday did something that few romantic comedies had dared to do before by ending with its leads apart. After their day together exploring Rome, newspaperman Joe is dumped by Audrey Hepburn’s Princess Anne, with whom he has fallen in love. Princess gotta princess, after all. It’s the logical ending, but it pains the Hollywood romantic in us to be denied the adequate satisfaction romantic comedies usually bring.

Look! A thing! Also, we will never be this happy, ever.

Climaxing is all about structuring a story in a way that satisfies, where the film pivots around a midpoint and folds in on itself, coming to a conclusion that feels whole. It should ideally serve as a response to its opening and fulfil, or at least address, what we’ve been experiencing for the past hour or two. One of my favourite films, Eternal Sunshine of the Spotless Mind, is a structurally daring film, taking place across two different timelines, with stories told both chronologically and backwards. And yet a poignant, quiet and ultimately ambiguous climax emerges at the end of all this chaotic storytelling – two characters in a hallway, deciding to try again. It ends as it began and the Mobius strip-like structure is ingenious and fulfilling. Not every climax has to blow you away, and not every climax will, but the best ones make the whole ride worthwhile.

The post A Brief History Of… Film Climaxes appeared first on VERTIGO 2020.

The plot works much better in context, and in this runs the risk of failing to engage your everyday movie-goer. The film came out of a conversation Smith and Scott Mosier had on their SModcast about a hoax gumtree.uk listing from a man offering free board to anyone willing to wear a walrus suit from time to time. The discussion went to surreal extremes and if you’re willing to go along and accept all of them you can drop your preconceptions about where the story should go. There is still a method to this madness and it lies in how the actual story-telling closely follows the style of a podcast. I’d go so far as to say that the difficulties critics have had placing this film comes down to the fact that it ignores genre and straight-up tells a story the way two cynical, film industry dudes on a podcast would. It’s unapologetic in its crassness, doubles back on itself and is in no rush to get a point across.

Unfortunately the tactless tone of SModcast doesn’t gel well with the polish of the film. The shots are well presented and at times the film elegantly combines sustained takes and a swelling score, but this grates against the heavy flow of potty humour. Wallace also appears to be Smith’s worst self, and this would be fine if he wasn’t so ridiculously unlikeable that he has zero redeeming characteristics. He ultimately fails as a character as the irony of Smith’s portrayal of a self-obsessed, overly-cynical and shallow podcaster will be missed by all but well-informed movie goers.

The film is exposition heavy yet not to a fault. Michael Parks’ soft-yet-gravelly-yet-beautiful blanket of a voice really nails his intensely self-aware dialogue which, at times, carries the film. In contrast, Long’s Wallace feels over-written with more dude-bro jokes than character. Others have pointed to Wallace as a reflection of Smith’s anxiety on his own over-reliance on voice and the wafer-thin personality people build from extreme extroversion, and while I can see shades of that, Wallace’s weakness never made me feel anything for him. Even when his situation was at its most dire. I was unable to relate, and ultimately I didn’t care about his fate.

The narrative arc of Howard was the best thing about the film, and the deviations into the sub-plot with Wallace’s girlfriend and his podcast partner, as well as that cameo that you’ll be researching after you see the film, felt unnecessary and under-written in comparison. Smith’s tone isn’t for everyone and it takes time for his slacker style to find the right step in this setting. If you’re willing to look past your expectations and let yourself be taken on a podcast-style narrative that free-wheels and oozes of irony, then there’s something to enjoy here. Forget genre, forget films and try not to get too grossed out.

2/5 walrus penis bones

Words by Lachlan Mackenzie

The post FILM REVIEW: Tusk appeared first on VERTIGO 2020.

After ten years of estrangement, twins Maggie (Kristen Wiig) and Milo (Bill Hader) are reunited following Milo’s half-hearted suicide attempt. Now in their thirties, the twins’ reconnection is awkward, despite their close bond as children. Maggie is now married to Lance (Luke Wilson), who is the kind of guy who calls you “amigo” and takes you out to rock climbing. The couple appears to be happy on the surface, but Maggie is secretly struggling to keep it together. Meanwhile, Milo, who has been unsuccessfully pursuing a career in acting in Los Angeles, uses a visit to his hometown to try to catch up with an old flame.

Wiig and Hader have a long history together working on Saturday Night Live and their chemistry in The Skeleton Twins is palpable. Both had established themselves as formidable comedic and improv actors, but their dramatic performances in The Skeleton Twins are so nuanced; Bill Hader in particular was a revelation. The highlight of the film is a scene in which Hader’s character performs an elaborately choreographed lipsync routine to cheer up his sister, which had me both watery-eyed and grinning stupidly. Another wonderfully funny moment was at Maggie’s work at the dentist where apparently, nitrous oxide is a great catalyst for sibling bonding.

The Skeleton Twins is director Craig Johnson’s second feature film, but he crafts the narrative with great finesse. The characters and their backstories are explored in such a refined way, and it’s no surprise the film won the Waldo Salt Screenwriting Award at Sundance.The Skeleton Twins is an absolute breath of fresh air as a subtle comedy, and quite an emotional, heartfelt drama. At its core, it’s about two very damaged and very flawed individuals who make terrible decisions, yet they’re so full of hope and love that they’re ultimately sympathetic, making the film is a very moving experience.

4.5/5

Image via Sundance

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I Can Quit Whenever I Want was a highly successful, but perhaps dubious choice for the official launch, as the script doesn’t just borrow but steals from the Emmy Award winning American television series, Breaking Bad. I Can Quit Whenever I Want stars Edoardo Leo, as Pietro Zinni, a retrenched academic with ever increasing debts, who draws together a gang of similarly destitute past lecturers to make fast, hard and seemingly easy money by creating a “technically legal” designer drug which mimics the performance of the best psychotropics on the market.

Despite the legal grey area Pietro cleverly carves out for himself, the story concept bears a marked resemblance to Breaking Bad and in some scenes, such as the original drug making in Pietro’s old university lab, moments are directly stolen. However, this film is set apart by its acid colour scheme (reminiscent of Terry Gilliam’s Fear and Loathing in Las Vegas), the far more likeable Pietro, and the tragic comedy with an Italian bent.

The thoroughly enjoyable I Can Quit Whenever I Want is just one of the 34 stunning new Italian features that The Lavazza Italian Film Festival will showcase at Palace Cinemas in Sydney. For those of you who non parlano italiano, each film is subtitled in English. The festival opens on September 18 with Marina, a biopic of singer and accordionist Rocco Granata, directed by Stijn Coninx, and closes on October 12 with a newly digitised Marriage Italian Style, directed by Vittorio De Sica and starring Sophia Loren.

Rating: 4/5

Words by ZALEHAH TURNER

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Josh Lawson pulls off just the right balance of fun and cringe-inducing  in The Little Death. The name comes from the French phrase le petite morte, a euphemism for orgasm, which should give you an idea of where this film is heading. It follows five different couples, narrowing in on their different sexual fetishes. It should be noted, though, this is not a sexy film. No need for tissues.

The film starts straight off with a humorous look at Paul’s (Lawson) foot fetish. It doesn’t take long until it dives straight into its most sensitive topic, his girlfriend Meave’s (Novakovic) rape fantasy. From here we see a woman who realises she is aroused when her husband cries, a man who is attracted to his wife while she sleeps, a speech impaired twenty-something who gets a kick out of obscure video calls and a hearing impaired phone assistant who translates his sex calls for him. And then there’s the new guy, Steve. He’s a registered sex offender. The humour constantly hovers between othering these sexual fetishes and revealing the importance of acknowledging them, as the obscure and often cringe-worthy situations the characters get themselves into are results of a lack of communication.

If you laugh at things like The Office, then this is the film for you. Though more lighthearted than the aforementioned, The Little Death is still very dark and draws on the classic bleak and deadpan humour of Australian comedy. It manages to pull off its intensely awkward moments, trigger-material discussions and graphic scenes by creating likeable and kind-hearted characters that, towards the end of the film, manage to break through the weirdness and become heart-warming. There are strong performances from all the cast, and a definite sense of chemistry between a few.

From teeth-gritting to heart-warming, the film finds its soul in the relationships between characters more than the situations that ensue. All in all, it is a fun ride and definitely worth a watch.

Rating: 3.5/5        

WORDS BY CAMERON MANION 

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