Podcasts about cinema nova

Welcome to Monday Breakfast! On the 10th of Feb we listened to: Speeches from the Protect Trans Youth rally on the the weekend, the8th of February: Frankie Mizzone (she/her) and her mum Patrice (she/her). Frankie is a trans teenage activist and trailblazer. Frankie spoke of her experiences accessing puberty blockers as a young transgender person. Patrice spoke about what it's like raising a trans child and keeping them safe in world of ever-expanding transphobia. CW death and suicide. Hini Hanara, a Takatāpui person who speaks of their experience as a funeral celebrant in dealing with the deaths of trans and gender-diverse children. Dr Danielle Stefanski with a message of hope for young transgender people: the community and infrastructure to support young transgender people is building and backed by evidence. Speeches from the Anti-Zionist Jews against Racism and Genocide rally on the 9th of February: Jacob Sacher an award-winning Jewish comedian and Jewish studies researcher. He has been the president of the Melbourne University Jewish Students' Society and is currently undertaking a Masters-By-Research at Monash University. Jeffrey Lowenstein, a descendant of Holocaust survivors and practised as a barrister for 50 years. Jeffrey also chaired the Anti Defamation Commission of Australia and New Zealand and was a member of the Jewish Community Council in VictoriaAnnie McLoughlin spoke with filmmaker Anthony Kelly about the documentary Our Warrior: The Story of Robbie Thorpe on the Showreel show. Showreel airs from 11 to 11:30 on Thursdays. To find out more info, and where to watch this upcoming documentary, go to ourwarriordoco.com. There will be a community screening of Our Warrior: The Story of Robbie Thorpe at Cinema Nova in Carlton this Saturday the 15th of February. Damien Patterson from the Council to Homeless Persons, speaking to James Mckenzie from the In Ya Face show that airs on Fridays from 4-5pm, last year in April about housing crisis facilities from trans and gender diverse people. To support this organisation go to chp.org.au 

Our Warrior: The story of Robbie Thorpe is now finished and we have a special community screening set for Saturday 15 February at Cinema Nova in Carlton!After over eight years, this project is now ready for the screen and you are invited to be the first to see it.This 53-minute documentary tracks the resurgence of a powerful Black, Indigenous, anti-colonial movement that is currently reshaping the country. It looks back at Robbie's childhood, his family and his emergence as one of the most controversial and uncompromising activists in Australia today.We talk with filmmaker Anthony Kelly.

With MQFF closing on Sunday November 24th, filmmaker Alice Maio Mackay and actor Connor Pullinger join Richard to talk about the last few days of the festival. Alice's film Carnage for Christmas screens on Sunday 24th (last day of MQFF) at 3.15pm at Cinema Nova. Connor's film Bulldog is a contender for Australian Shorts & Awards (screening and awards are 6pm on Saturday 23rd at ACMI Fed Square). Then, from the La Trobe Art Institute, Dr. Karen Annett (director) and Amelia Wallin (curatorial lead) talk about the new exhibition Parched. The exhibition features over 8 artists interpreting cultures of drought around regional Victoria. The exhibition runs from November 20th - February 9th at La Trobe Art Institute (121 View Street Bendigo), with an opening event on November 29th from 5pm, plus artist and curator talks from 2pm on November 30th.Have you ever wondered what an artists interpretation of waves and bubbles might sound like? Wonder no more… local composer, sound-artist and musician Elissa Goodrich has conducted a unique cross-disciplinary collaboration with fluid dynamics researcher Professor Richard Manasseh and his team at Swinburne, who are working on an Australian Research Council project on the sounds naturally emitted by ocean bubbles. Catch their project Waves and Bubbles at Tempo Rubarto (34 Breese St, Brunswick) at 8pm on November 28th. Author Gillian Wills on her debut novel Big Music - set in a music college, exploring sexism in arts leadership and drawing upon Wills' lived experience as the Dean of Music at the Victorian College of the Arts, it is a tale of triumph over adversity. Choreographer Sandra Parker and sound designer Lawrence Harvey on their production, Safehold. Safehold is a “new choreographic work drawing on themes of collaboration and unity”, performed by dancers Anika de Ruyter, Rachel Mackie and Oliver Savariego. At 7pm, on Thursday 21 until Saturday 23 November 2024 at the ETU Ballroom, Trades Hall!Sue Healey, award-winning choreographer and filmmaker, presents ON VIEW: ICONS - six screendance portraits, where attendees will experience a moving celebration of some of Australia's pioneering women in dance including: the late Eileen Kramer, plus Lucette Aldous AC, Elizabeth Cameron Dalman OAM, Nanette Hassall AM, Elma Kris, Shirley McKechnie AO. Showing at Dancehouse from 4-7pm, Thu 28 — Sat 30 November 2024.Plus, Anne Marie Peard has plenty of fabulous theatre reviews!

delsi Moleta discusses her film Femme, screening at the Melbourne Documentary Film Festival as part of Shorts Session 5 at Cinema Nova, 10.30 am, Sunday, 28 July.  cinemanova.com.au/films/mdff-shorts-session-5

Nasser provides updates on the continual genocide of Palestinians in Gaza, 280 days since Oct 7 with an estimated 186,000 Palestinian deaths, and in particular the importance of an accurate count – and the difficulty of achieving one.Nasser then speaks with James Godfrey, spokesperson for Free Gaza Australia (a branch of the Freedom Flotilla Coalition), a grassroots solidarity movement across the world working together to end the Israeli blockade of the Gaza Strip. They discuss James' family history, the difficulty of providing humanitarian aid, details on the movement of the Freedom Flotilla, and the importance of challenging information blockades. Donate to Gaza Freedom Flotilla Australia via freedomflotilla.org/gaza-freedom-flotilla-australia.Freedom Flotilla Coalition Telegram channel, search for FFC_official_channel.Palestine Under Siege film screening, Sat 20 July 2024, Cinema Nova. Tickets.Free Palestine Melbourne rally, State Library Victoria, Sundays 12pm.Info on upcoming events and actions via Free Palestine Melbourne Instagram.Daily broadcast updates via Let's Talk Palestine. 

Filmmaker Meghan McDonough joins us from Brooklyn, New York City, for an interview about her documentary Old Lesbians.  Screens at the Melbourne Documentary Film Festival, 10.30 am, Sunday, 28 July, as part of Shorts Session 5, at Cinema Nova, Carlton.   cinemanova.com.au/films/mdff-shorts-session-5  3CR broadcasts from the stolen lands of the Kulin Nation.

Documentary filmmaker Marion Pilowski joins us for an interview about her documentary Isla's Way.  Commences Friday, 19 July at 6.30 pm at the Melbourne Documentary Film Festival, Cinema Nova, Carlton.  Isla's Way | Melbourne Documentary Film Festival (mdff.org.au) 

Richard kicks off this week's epic show with Irish band, The Mary Wallopers. The cheeky, rowing brothers, Charles and Andrew Hendy, talk sibling rivalry, genre shifting, and their anticipation of Ireland's global domination… Professor Lisa Given is on the line to celebrate Dungeons & Dragons 50th Birthday. What is the legacy of DnD and tabletop roleplaying? Lisa's recent research goes into the mental health benefits and value of playing it.Naser Shaktour, the Festival Director of the Palestinian Film Festival 2024, calls in to give us a program overview and talks through why it is so important to engage with Palestinian media right now. The Palestinian Film Festival starts at Cinema Nova on March 14.Actor, Yvette Turner, who stars in The Hearth Theatre's iteration of ‘The 39 Steps', gives an insight to the tongue-in-cheek-love-letter coming to us at Chapel off Chapel from March 8.PHOTO 2024 Curator, Brendan McCleary, and visiting artist, Clifford Prince King, give a big festival overview chat with a focus on the regional weekend on March 7-10. The dangerously in sync Helen Hopkins and Carolyn Bock from The Shift Theatre tell us about their new production ‘Eat Your Heart Out' at La Mama. How devilishly fun, darling!PLUS The brilliant Anne-Marie Peard reviews the latest and greatest theatre performances around town.

Django Nudo and the Smut Peddler are thrilled with the reception to the Mike Vraney Memorial Month, with a wealth of new films from Lisa Petrucci - the first Theme Month when we did TWO films each day - and an influx of new members. (There will be more news from Something Weird Video soon.) 'Roughies' such as "Unholy Matrimony" (1966) were definitely a favourite of Mike's. We discuss why we don't have any 'subscribers', but only MEMBERS, how we do the Jewish Mother guilt trip to get them to stay and why Cultpix is amazing value at $4.92 if you sign up for a whole year, while some people pay $6.66 to just watch one film. The theme week is the Scopitone, an amazing machine, described as "If a Wurlitzer Jukebox and an old tube television had a love child, it would look like the Scopitone," by Between the Liner Notes (BTLN). It was the tall and grown up version of the jukebox, placed in cocktail bars, where people were prepared to pay a quarter to see a precursor to the music video. The $3,500 machine ($26,000 in today's money) was expensive, but often paid for itself in as little as three months. There was mobster, Kennery and Debie Reynolds connections, all of which we discuss. If you want to dig deeper, look out for Stevenson's essay, “The Jukebox that Ate the Cocktail Lounge”, in his book "Land of a Thousand Balconies: Discoveries and Confessions of a B-Movie Archaeologist", and while we are on the subject of Jack...Cultpix is having a bunch of IRL events in the next month, including:Scandinavian Sin at the Offscreen Film Festival at Cinema Nova 7th March in Brussels, with Jack Stevenson and Christina Lindberg;Nordic Horror Fest at Husets Biograf in Copenhagen, 17th February;We will be at the Berlin Film Festival, so drop us a line if you want to meet up and have a beer. February's theme is Filthy 50th, in which we celebrate the adult films that were released in 1974, right in the middle of the so-called "golden age of American pornography" or 'porno chic'. We kick off with a porn film by Roberta Findlay called "Angel on Fire" (1974), aka "Angel 9", called "The first erotically explicit film ever made by a woman". At least 20 of the films are new to Cultpix. Also in February, we will have a take-down of Ingmar Bergman (with his black sheep daughter Anna Bergman), some cool and culty films from the Estonian Film Institute (Nazis!! In a lunatic asylum!) and a Spotlight on Echelon Studios. We finish with the intro music to "Libahunt / Werewolf" (1968) from Estonia, directed by Leida Laius. "Tiina, the daughter of a woman burned as a witch, grows up on a farm with the orphan girl Mari and Margus, the son of the Tammaru family. Margus loves the hotblooded, energetic Tiina, but his parents want him to marry Mari. Mari thinks Tiina has bewitched Margus, and spreads a rumor that her stepsister is a werewolf."

Kate & Katherine get excited about Katherine's upcoming trip to Kryall Castle, debrief on recent reads and Kate swoons over the amazing Stero Stories at Write around the Murray.    This episode the Featured Book is brought to you by Fremantle Press and we're talking to writer and journalist Molly Schmidt. Molly is from the coastal town of Albany, Western Australia. She is passionate about producing stories that are inclusive of all members of her community.    Her first novel Salt River Road was written as part of her PhD under Miles Franklin Award winner Kim Scott—who has also been on this show—and novelist Brett D'Arcy. As part of the writing process, Molly collaborated with Noongar Elders to produce a work that actively pursues reconciliation. She is a radio producer and journalist for the ABC, where her passion for storytelling is put to good use. Molly's writing advice: Let yourself dream and make connections along the way Molly's recommendation of a debut book: Old Boy by Georgia Tree.   Kate and Katherine mention: Wifedom by Anna Funder  Queenie in Seven Moves by Zanni Louise  Really Good, Actually by Monica Heisey  The Modern by Anna Kate Blair Stone Yard Devotional by Charlotte Wood Why We Are Here by Briohny Doyle After the Forest by Kell Woods One Piece on Netflix  Events:  Kate hosts Anna Kate Blair discussing her debut novel The Modern at Beaumaris Library on Monday October 2nd, 6.30pm. Free but please book here. Katherine hosts Clare Fletcher at Robinsons Bookshop Glen Waverley on Friday 6th October - Bookings here Kate hosts Charlotte Wood discussing her new novel Stone Yard Devotional at Cinema Nova for Readings Books on Wednesday 11th October, 6.30pm. Bookings here. Kate joins an online panel on AI: Opportunities, Threats and Ethical Considerations for Authors with Tracey Spicer, Holden Sheppard and ASA CEO Olivia Lancaster. Thursday 26th October 7.30-9pm. Bookings here. Check out show notes for this episode on our website www.thefirsttimepodcast.com or get in touch via Twitter (@thefirsttimepod) or Instagram (@thefirsttimepod). You can support us and the making of Season Six via our Patreon page. Thanks for joining us!

This week, we're back after a little break. Jinxy's been sick, BL interviewed a member of One Direction and Eva Longoria. They talk Orgasm Inc, the Kenja cult and reading Glossy, Marisa Meltzer's new book about Glossier and Emily Weiss. BL describes her experience at RISING (having a silly cocktail, seeing meemaw), and Kate talks about her experience having fibroid surgery, feeling dopey as and going under while listening to Call Me Maybe. Then they recap the TV they've been watching recently (incl. The Idol and Alone) and their feelings about Deborah Levy's new novel, August Blue. Also: Alsos.Follow us on socials @seealsopodcast.See AlsosThe Unexpected Grief of a Hysterectomy by Anna HolmesAlone AustraliaWork in Progress season 2The Good FightI'm A VirgoDeborah Levy's Living Autobiography trilogyPersonaVertigoDeborah Levy's Search for a Major Female CharacterProfile by Simran HansReview by Olivia Laing in the GuardianAnother EarthSaint MaudThe IdolWhy can't Hollywood get pop stardom right?Cinema Nova is screening Dead Ringers on Sunday, 2nd JulyAlso AlsosLISTEN ALSO: Expired Candy by Body Type, out on Poison City RecordsFLOWER ALSO: the column Flower Press by Olivia Meehan, the flower historian at World of InteriorsSTEAM ALSO: Joseph Joseph Pocket Plus Folding Table-Top Ironing BoardPOD ALSO: Annie Portelli on the Design Files TalksDENTIST ALSO: Dr Betty at North Carlton DentalLISTEN ALSO: What Will You Grown Now? by Modern Cosmology Hosted on Acast. See acast.com/privacy for more information.

There is nothing better than getting into a cosy cinema in winter and enjoying some quality queer films so we took this program as an opportunity to highlight some of... LEARN MORE The post 2023 Spanish Film Festival, Cinema Nova Pride Season and ‘All The Beauty and the Bloodshed' appeared first on Out Takes.

Its a quieter show this week on APN but that doesn't mean we can't bring the hype!

Flick Ford talks with Cinema Nova's CEO Kristian Connelly to discuss their current retrospective ‘In The Mood For Wong Kar-Wai.' Then film journalist Silvi Vann-Wall joins to review JURY DUTY (Amazon Prime). Facebook: https://www.facebook.com/primalscreenshow/Instagram: https://www.instagram.com/primal_screen_show/ Twitter: https://twitter.com/primal_screen

Acknowledgement of Country//3CR would like to acknowledge the Kulin Nations – true owners, caretakers and custodians of the land from which we broadcast. 3CR pays respect to Elders, past and present of the Kulin Nation. We recognise their unceded sovereignty./ Martin Hodgson//Martin Hodgson is a Senior Advocate at the Foreign Prisoners' Support Service and co-hosts Curtain the Podcast along with South Sea Islander and Darumbal writer and academic Amy McQuire. Martin spoke with Priya about the shameful crisis of missing and murdered Indigenous women and girls in Australia and the work he has been doing with Amy and the families of these women to fight for justice and draw attention to systemic discrimination. Please be aware that this interview contains distressing content- if you need to speak with someone about this, you can call Lifeline on 13 11 14. Bhiamie Williamson//Bhiamie Williamson, Research Associate and PhD candidate at the Australian National University, speaks with us about the disporportionate vulnerability of Indigenous peoples to climate change, and the need for Indigenous-centred disaster management and climate change mitigation strategies in Australia.// Fiona Allison//Dr Fiona Allison, Senior Research Fellow at Jumbunna Institute for Indigenous Education and Research, joins us to speak about the Call It Out racism register released this week by the National Justice Project and Jumbunna Institute, which aims to track instances of racism against First Nations people. She has worked on national and other projects related to improving justice outcomes for Aboriginal and Torres Strait Islander people, including in the area of race discrimination and racism and in the criminal justice system. Find out more https://callitout.com.au/ Gary Foley//Professor Gary Foley joins us to speak about the upcoming national cinema release of the fully restored documentary NINGLA-A'NA. NINGLA-A'NA is the inside story of the Aboriginal Tent Embassy, which celebrated its 50th year of continued occupation and resistance this year. The documentary is the only film shot inside the Embassy, up close and personal with the people who established it. The film will screen at Cinema Nova in Carlton this coming Friday 30th September, Saturday 1st October and Sunday 2nd October (details here). There will be special panels on Friday with Professor Gary Foley, Lidia Thorpe and Tony Birch, and on Sunday with Professor Gary Foley, Rulla Kelly Mansell and Rachel Maza. Sue-Anne Hunter//Sue-Anne Hunter is a proud Wurundjeri and Ngurai (Nu-Ray) Illum Wurrung woman and Deputy Chair and Commissioner with the Yoorrook Justice Commission. Sue-Anne is a child and family services practitioner who has focused her career around using culture as a foundation for healing trauma and addressing the impacts of colonisation on Aboriginal and Torres Strait Islander children and their families and communities. She joins us today to speak on the The Yoorrook Justice Commission's upcoming investigation into the impact of the child protection and criminal justice systems on First Peoples in ''Victoria''. Yoorrook's public hearings will be livestreamed on the Yoorrook website from December 5. Songs//Blak Matriachy - Barkaa/Indigenous Land - DRMNGNOW/Finesse - Pania/Black Child - Birdz and Mo'ju/  

Genevieve Bailey's films have screened in 50 countries, winning over 30 awards to date. With a background in short drama, comedy, and music videos, I AM ELEVEN (2011), her ambitious first feature documentary, was shot in 15 countries and 12 languages. It received critical acclaim and a theatrical release in Australia spanning over eight months, including a record 26 weeks at Cinema Nova in Melbourne. I AM ELEVEN was named New York Times Critic's Pick when it opened cinemas. Genevieve's latest film is Happy Sad man, which is about opening up and gaining insight into how we can better be there for ourselves, our mates, and our loved ones. Produced by Proud Mother Pictures. 7 years in the making, shot across Australia in Victoria, NSW, Northern Territory, Queensland, and Tasmania. Features 5 male key participants aged in their 30s-70s, and additional participants, both male and female, aged into their 90s. It shows BiPolar openly and realistically, which is not shown often on the big screen. For me, it's the most enjoyable and best film I have seen about mental illness and mental health, I highly recommend it to anyone to go and see, plus you're supporting an Australian filmmaker. Huge thanks to Genevieve for her time and insights. Watch the trailer here - https://vimeo.com/294254156Find a local screening here - https://happysadman.org/screenings/Website - https://happysadman.org/Visit the website www.livedexperiencepodcast.com Leave a review - https://www.livedexperiencepodcast.com/reviews/new/ Donate to the costs associated with the show - https://ko-fi.com/thelivedexperiencepodcast

Palestinian Film Festival here II We speak with festival director Naser Shakhtour about the incredible depth and range of films in this years Palestinian Film Festival running from Nov 3-6 at Cinema Nova.Deebing Creek Stand-Off here II Deebing Creek near Ipswitch Queensland has been slated for the biggest housing development scheme the State has ever seen. The problem is  it means the destruction of Aboriginal historic sites that local community are not prepared to sacrifice. This battle has all the ingredients at the heart of white Australia's inability to face up to it's destructive past while wanting to appear reconciled to that past. We speak to Jonathon Sriranganath, an ally and Brisbane Greens Councillor, about what happened Friday when developers bulldozers arrived to knock over the old trees.This is the Week here II Kevin Healy's take on the week just past.Budget, Reserve Bank & Annual Wage Review here II Don Sutherland looks at the interaction between the latest mini budget, the Reserve Bank with its quick moves to use interest hikes to squash inflation, and the upcoming Annual Wage Review.

Acknowledgement of Country// Headlines// We hear Izzy Brown speaking at the Naarm Truth Not War rally which was held outside the State Library on Sunday the 18th of September, United Nations International Peace Day. The Truth Not War rally was organised by a coalition of peace and social justice activists including Melbourne 4 Assange, PEN Melbourne, Anti AUKUS Vic and Extinction Rebellion VIC and AUS. Our thanks to Michaela for recording this audio. Since her teens, Zelda Grimshaw has been a grassroots activist for earth rights, human rights and is now a co-organiser of Disrupt Land Forces. Disrupt Land Forces is a project forged between October 2020 and June 2021 to resist the weapons industry and ongoing militarisation in so-called Australia. As part of 3CR's daily coverage of anti-militarisation efforts this week, Zelda joins us to speak about Disrupt Land Forces' upcoming action responding to the largest land based weapons expo in the Southern Hemisphere, which will be held in Meanjin-Brisbane this October. Today we will be discussing the intersectional relationships between patriarchy, colonialism and militarised harm and the ways that nonviolence and radical respect can strengthen our resistance. Links to additional resources mentioned are here: Michael West News, Declassified Australia, Wage Peace. Donate to Disrupt Land Forces here. We are joined by Dr Ruth DeSouza, a health researcher, clinician, nursing educator at RMIT university and podcast creator of Birthing & Justice. She has professional expertise in diverse areas from cultural safety, maternity, migration, tech, social inclusion and mental health and much more. She joins us today to speak on research co-authored with Dr Sukhmani Khorana and PHD candidate Bhavya Chitranshi, about the experiences of six cisgender South Asian-Australian women who gave birth during the COVID-19 pandemic. Professor Gary Foley joins us to speak about the upcoming national cinema release of the fully restored documentary NINGLA-A'NA. NINGLA-A'NA is the inside story of the Aboriginal Tent Embassy, which celebrated its 50th year of continued occupation and resistance this year. The documentary is the only film shot inside the Embassy, up close and personal with the people who established it. The film will screen at Cinema Nova in Carlton this coming Friday 30th September, Saturday 1st October and Sunday 2nd October (details here). There will be special panels on Friday with Professor Gary Foley, Lidia Thorpe and Tony Birch, and on Sunday with Professor Gary Foley, Rulla Kelly Mansell and Rachel Maza. During today's show, we mentioned a rally that will be happening today at Federation Square from 6-7;30PM Naarm/Melbourne to show solidarity with the people of Iran in the wake of 22 year old Iranian Kurdish woman Mahsa Amini's death in police custody. The country is currently under an internet blackout after over a week of demonstrations against Amini's death, and the death toll at these protests continues to rise. Find out more information about today's rally here.// Songs:You, Me & The Sky - Big Sand and Tia Gostelow// Doin it different - Arona Mane, Shantan Wantan Ichiban and Dancingwater//Sweet Disposition - Budjerah, Ngaiire and Gretta Ray//

Cinema Nova's CEO Kristian Connelly chats about the iconic cinema's 30th birthday; Journalist Ben Eltham dives deep into the secret Scott Morrison portfolios; Bobby confesses to not always seeing things right in front of her; Artist and activist Aretha Brown explains her event 'How to Paint a Mural'; the team air their thoughts on the universal honking sequence; Music legend Mark Seymor kicks off Radiothon 2022, explaining why supporting Triple R financially ensures it can continue to broadcast; and Nat Harris and Eddie Perfet, both comedians, writers and performers, explain why artists love Triple R and encourage listeners to support Radiothon 2022. With presenters Mon Sebire, Daniel Burt and Bobby Macumber.Website: https://www.rrr.org.au/explore/programs/breakfasters/Facebook: https://www.facebook.com/Breakfasters3RRRFM/Twitter: https://twitter.com/breakfasters

Interviews with Caroline Layt and Matthew Bauer.  Journalist and former rugby player Caroline Layt discusses the International Rugby League's ban on transgender women players.  The Left Winger – Am old footy player who's a qualified journo, but who covers topics and issues of interest to me (cazio.blog)  Matthew Bauer discusses his documentary The Other Fellow about people with the name James Bond and the profound impacts it has had on their lives.  Premieres in Australia at the Melbourne Documentary Film Festival on July 26 at Cinema Nova.  The Other Fellow – Just another Elementor Cloud website ;)  The Other Fellow | Melbourne Documentary Film Festival (mdff.org.au)  www.cinemanova.com.au/films/mdff-other-fellow-the  Sovereignty was never ceded. 3CR broadcasts from the stolen lands of the Kulin Nation.  QLife 

The Melbourne Documentary Film Festival kicks off its in-person in-cinema screenings on July 21st through to July 31st at the Cinema Nova. Screening at this years fest is the film, Mental as Everything: Damon Smith has estimated that he has spent around 50 thousand hours of his life, so far, participating in absurd ritualistic behaviors associated with his obsessive Compulsive Disorder. With the help of his anxious friend, Adam, these two, Australian musicians, share, with original music, preposterous humor, and outlandish animations, the intricate and debilitating nature of what it is like to live and talk about mental illness in a world where it's ok to talk about a broken arm but not ok to talk about a broken mind.https://mdff.org.au/films/mental-as-everything Andrew caught up with Damon to chat about how the film was made, what the creative process is like for a musician turned filmmaker, and the main theme of the film: mental health. It may sound like a dark subject on paper, but Mental as Everything embraces the subject with heart and compassion, and most importantly, a levity that is often missing with the subject of mental illness. Pick up tickets to Mental as Everything here, and make sure to follow the Mental as Everything Facebook page too.See omnystudio.com/listener for privacy information. Hosted on Acast. See acast.com/privacy for more information.

The Melbourne Documentary Film Festival kicks off its in-person in-cinema screenings on July 21st through to July 31st at the Cinema Nova. Screening at this years fest is the film, Mental as Everything: Damon Smith has estimated that he has spent around 50 thousand hours of his life, so far, participating in absurd ritualistic behaviors associated with his obsessive Compulsive Disorder. With the help of his anxious friend, Adam, these two, Australian musicians, share, with original music, preposterous humor, and outlandish animations, the intricate and debilitating nature of what it is like to live and talk about mental illness in a world where it's ok to talk about a broken arm but not ok to talk about a broken mind. https://mdff.org.au/films/mental-as-everything Andrew caught up with Damon to chat about how the film was made, what the creative process is like for a musician turned filmmaker, and the main theme of the film: mental health. It may sound like a dark subject on paper, but Mental as Everything embraces the subject with heart and compassion, and most importantly, a levity that is often missing with the subject of mental illness. Pick up tickets to Mental as Everythinghere, and make sure to follow the Mental as EverythingFacebook page too. See omnystudio.com/listener for privacy information.

Cinema Nova: "We really like the idea of not having a fixed genre“

Oscar and BAFTA-nominated film “The Father” in cinemas this month was of course brought to you by the doyenne of Australian Cinema, Natalie Miller.With a keen eye for the latest greatest films, film distributor (Sharmill Films) and part-owner of the iconic Carlton Cinema Nova,Cinematic queen Natalie Miller transformed Melbourne and Australia into a film hub.Sourcing the best international and National films from across the globe she is revered for her dedication and determination to bring the best films to our local screens.Directors and producers across the globe from Fred Schepsi to Jane Campion, Sue Maslin (The Dressmaker) to Alan Finney respect her curated content which has seen Cinema Nova celebrated as Australia's premium art house cinema.As Oscars buzz swirls around her latest distribution selection “The Father” is carried by Anthony Hopkins and Olivia Colman. This movie is told from Hopkins' perspective, as he ages his memory fading...“Based on the acclaimed, award-winning play, “The Father” starts out as a deceptively simple drama hinged on a deceptively familiar dynamic. Anne (Olivia Colman) is losing patience with her 80-year-old father, Anthony (Anthony Hopkins), whose grip on reality is fading but who refuses to allow a carer to look after him. She's moving to Paris and needs to ensure his safety while she is away so before she leaves she must find someone who will endure him. For Anthony, life has become a source of ever-disorienting confusion and in a masterful stroke, the writer-director Florian Zeller (who created the original stage production) tells the story from his eyes as characters and locations shift and we become as muddled as he.”Natalie joins me on the WhatIveLearntPodcast to discuss her latest choice, the Oscars, the collateral damage of losing her beloved cinema for Covid, her unfettered passion for film and storytelling, the new ACMI which she helped foster as an alumni board member, and the belief that the shared experience of going to the movies will always survive.

Tune in for Loud & Queer's rundown on the 2021 Melbourne Queer Film Festival! Laura (they/them) and Elizabeth (she/her) dove into four movies across the annual March festival. Laura describes the heartfelt documentary "Keyboard Fantasies" about African American musician Beverly-Glenn Copeland. Copeland grew up in small-town USA in a single-minded religious community where his parents taught him classical and traditional music. Moving to Montreal, he thought he was gay before realising he was a trans man. His 1986 album, which inspired the title of the documentary, was released on a cassette to a local audience but didn't reach further afield until his old age. The documentary follows Copeland and his band as he tours across Canada, inspiring young people with his vibrant and soulful music. The only thing missing for us was more queer content focusing on self-love as Copeland accepted himself later in life. Laura's rating: 9/10 Elizabeth saw "Forgotten Roads" at Como Cinema, a Spanish film which follows the story of widower Claudina who is still discovering parts of her sexual identity. The story follows her close relationships with those in her village, her loving grandson, her estranged daughter, and her new lover, Elsa. These relationships highlight her growth  but aren't integral to it; Claudina is her own person with a loving partner: they both just happen to be queer. Elizabeth's rating: 8/10 Laura visited Cinema Nova with their partner to check out "Kiss Me Before It Blows Up", a Tel Aviv-based film surrounding the engagement of a young Sapphic couple, German Maria and Israeli Shira. The couple goes through the usual trials and tribulations when 'meeting the parents', discussing their future, and the uncomfortable history of ex-flames. Their queerness is hardly an issue, but their family histories are thrown in their faces daily where in Israel, the personal is equal to the political. While the story was your average rom-com in all things cinematography, plot conventions and the like, the characters had no chemistry between them and it seemed the Palestinian issue was always played for laughs in some pretty inappropriate ways. The movie's main saviour is its occasionally witty, disastrous humour on things unrelated to Palestine. Laura's rating: 2/10 | Laura's partner's rating: "Do you accept decimal point ratings?"  Special shout out to "My First Summer", MQFF's principal film for the 2021, which Laura saw out of interest. It follows the lives of two teenage girls falling in love and supporting one another through trauma and neglect. Wildly unique and downright touching, My First Summer didn't condescend to its audience, or underestimate the strength and depth of young queer women. Laura's rating: 8/10 See omnystudio.com/listener for privacy information.

Hawthorn star Jonathon Patton is under investigation by the club following allegations of lewd behaviour on social media. Carlton's popular Cinema Nova has sparked controversy by removing an Australia Day advert from its pre-movie advertising amid a complaint it was “propaganda” and insensitive to Indigenous viewers.  A woman in Victoria's hotel quarantine system infected with the UK coronavirus super strain, returned to Queensland after just 10 days in isolation, sparking a new contact tracing effort. South Australia has stolen top tennis players away from Victoria as our hotels struggle to cope with an influx of people in quarantine. For updates and breaking news throughout the day take out a subscription at heraldsun.com.au. See omnystudio.com/listener for privacy information.

In this Out Takes retrospective, we look back at our coverage of how the COVID19 public health crisis has effected our local film and cinema industries. We revisit exclusive Out Takes interviews with Cinema Nova […] http://media.blubrry.com/out_takes/p/joy.org.au/outtakes/wp-content/uploads/sites/310/2020/06/JOY-2020_Outtakes_June15_encore.mp3 Podcast: Play in new window | Download () Subscribe or Follow Us: Apple Podcasts | Android | Spotify | RSS The post A look back: The impact of COVID19 on local cinemas appeared first on Out Takes.

Cinema Nova's Kristian Connelly and The Astor Theatre's Zak Hepburn talk about the impact of lockdown on cinemas; and reviews of Cory Finley's BAD EDUCATION (2019) and Michael Winterbottom's THE TRIP TO GREECE (2020). Facebook: https://www.facebook.com/primalscreenshow/Instagram: https://www.instagram.com/primal_screen_show/Twitter: https://twitter.com/primal_screen

Every week Nick and Ash start the show with a chat about what's been in the news locally and internationally for drug policy.Unharm Director Will Tregoning NSW Coroner's reportLegalise Vaping CampaignBrian Marlow talks about why vaping of nicotine has become such a vexxed issue in Australia and the campaign to change that."PROTEST ALL DAY, PARTY ALL NIGHT": HOW RAVE IS UNITING THE LEBANESE REBELLION - MixmagPsychedelic Panel Discussion at Dosed Screening in MelbourneThis panel was held at Cinema Nova in Melbourne on Wednesday the 28th of August 2019. It followed a screening of the movie Dosed Panel hosted by Cam Duffy from the Australian Psychedelic Society, with panelists:Paul Liknaitzky - Executive Officer of Mind Medicine AustraliaFiona Henrich - Clinical Psychologist DOSED - dosedmovie.com winner of the Melbourne Documentary Festival Audience award

This week on Out Takes, we celebrated MQFF eXtra, which kicked off at Cinema Nova in October. The inaugural MQFF eXtra showcased a spate of new queer films, including festival darlings like PAIN AND GLORY […] http://media.blubrry.com/out_takes/p/joy.org.au/outtakes/wp-content/uploads/sites/310/2019/10/JOY-2019_Outtakes_Sept23_MQFF-eXtra.mp3 Podcast: Play in new window | Download (Duration: 52:11 — 42.6MB) Subscribe or Follow Us: Apple Podcasts | Android | Spotify | RSS The post MQFF eXtra 2019 appeared first on Out Takes.

Photographer and documentarian Louise Lever is preparing to release her debut film Revolt She Said, a portrait of feminism through the ages. In this segment with co-hosts Liam, Christian and Tom, she discusses her two-year journey researching and making the documentary, where the modern feminist movement currently sits, and how she secured the participation of former Prime Minister of New Zealand, Helen Clark. The world premiere of Revolt She Said is happening Wednesday, October 9th at Cinema Nova, Carlton. Tickets to the event are available via Eventbrite. You can also find out more about Louise via her official website. Segment originally aired Wednesday, August 21st. Produced by Tom Parry; edited by Christian Tsoutsouvas. Image courtesy of the artist.

Nick and Ash discuss the week in drug newsMUSICGriff - Dawn Trails (w Eastward & Yikesdoor)SEGMENTMelbourne Dosed screening at Cinema Nova. Out-take from the Q&A session with Dr. Martin Williams (President, PRISM), Dr. Margaret Ross (St. Vincent's Psilocybin Trial), Melissa Warner (Mind Medicine Australia).Host of the Dosed panels, Cam Duffy from the Australian Psychedelic Society talks about the panels.SEGMENTAsh caught up with libertarian and cannabis legalisation activist Avens O'Brien at the Friedman Conference held in Sydney, May 2019.

Hosted by Will and Eiddwen || 3CR is proud to acknowledge the Kulin Nations as true owners and custodians of the lands from which we broadcast. We pay respect to their elders past and present and acknowledge that their sovereignty was never ceded and a treaty has yet to be signed || [26:00] Beyond the Bars: Lester speaks from Port Phillip Prison during NAIDOC 2004 about the cycles of reincarceration and the need for community for Indigenous peoples || [46:05] The Art of Incarceration: Producer and Director Alex Siddons come son the show to talk about his feature documentary The Art of Incarceration. Debuting at the closing night of the Melbourne Documentary Film Festival, The Art of Incarceration follows the creative lives of three men incarcerated at Fulham Correctional Centre where The Torch helps Indigenous prisoners find their artistic voice and supports their art on the outside. The encore screening on the 31st of July will take place at Cinema Nova with tickets available at the festival website || [1:00:07] Possums Not Paper: VicForests has commenced logging in forests only just recovering from the 2009 Black Saturday fires. In response to this, residents of the Kinglake area have come together to form the Kinglake Friends of the Forest and through non-violent direct action, have succeeded in halting logging for two days. Karena and Sue come on the show to tell us why it is vital to save this forest and to invite you to join the community against logging. The community is coming together to show opposition to logging in the area this Monday the 22nd at 2:30pm in Lions Park, cnr Extons Road and Whittlesea-Kinglake Road, Kinglake Central. Find the group at their facebook page Kinglake Friends of the Forest || [1:14:43] Raise Newstart Now: Momentum is building in the Australian Labor Party in support for a raise of the Newstart payment, but is this too little too late? Kat from the climate, economic and social justice youth organisation YOUNG comes on the show to talk about the need to raise Newstart and the impact the lowered threshold for HECS debt repayments will have. Find out more by searching Young Campaigns on Facebook at the website youngcampaigns.org ||  

Filmmaker Helen Gaynor talks about her new film The Candidate which has it's world premiere at the Melbourne Documentary Film Festival on July 28th, 11am at Cinema Nova. The Candidate follows Greens Alex Bhathal in the nail biting by election in Batman.

On this weeks program Chris speaks to Dayna Andreussi and Cory Boardman from Brompton Junction in Carlton North about this Thursdays event:BROMPTON X CHPT3 2019 - Melbourne with David Millar, UK ex-pro cyclist and now UK Tour de France commentator and how Bromptons can open up transport possibilities beyond using a conventional bicycle.Local news includes The Age's editorial supporting City of Melbourne plans to close two city blocks to vehicles, and replace the road with space for cyclists and pedestrians, The Bikes of Wrath screening this Sunday 26 May at Cinema Nova, where five Australians attempt to cycle 2600kms from Oklahoma to California in honour of the westward migration undertaken by 'The Grapes of Wrath's' Joad family.Ian Treloar writes in Cycling Tips about "Waving at strangers: The bike that changed how I see cycling", a much-needed discussion of how cargo e-bikes can change a young families transport priorities. Programs ends with a cheery cocking a snook at the weekends federal election results with Peep Tempels "Rayguns"

Australia’s first music thanatologist Peter Roberts plays the harp for the sick and dying. Farshid Akhlaghi has made a film about Peter and the special impact he’s had on the lives of many, especially in Geelong. Farshid and Peter joined Amy in the studio to discuss the Australian Premiere of 'From Music Into Silence' – screening at Cinema Nova in May. Peter also played his harp for us.

Australias first music thanatologist Peter Roberts plays the harp for the sick and dying. Farshid Akhlaghi has made a film about Peter and the special impact hes had on the lives of many, especially in Geelong. Farshid and Peter joined Amy in the studio to discuss the Australian Premiere ofFrom Music into Silence- screening at Cinema Nova in May. Peter also played his harp for us. Acclaimed actors John Bell and Jessica Tovey came in to chat about Bell Shakespeare's production of Molires classic comedyThe Miserand how theyve brought the new adaptation by Justin Fleming to life! Its showing at the Arts Centre in Melbourne. Plus Ben Eltham from New Matilda discussed the federal election campaign so far.

Australias first music thanatologist Peter Roberts plays the harp for the sick and dying. Farshid Akhlaghi has made a film about Peter and the special impact hes had on the lives of many, especially in Geelong. Farshid and Peter joined Amy in the studio to discuss the Australian Premiere ofFrom Music into Silence- screening at Cinema Nova in May. Peter also played his harp for us.

This week on Out Takes, we ushered in the new year by looking at some of the most anticipated theatrical releases of 2019. Our guests were Kristian Connelly, General Manager and Programmer at Cinema Nova, […] http://media.blubrry.com/out_takes/p/joy.org.au/outtakes/wp-content/uploads/sites/310/2019/01/JOY-2019__Outtakes_Jan7_The-Year-Ahead-in-Queer-Cinema.mp3 Podcast: Play in new window | Download (Duration: 52:29 — 44.0MB) Subscribe or Follow Us: Apple Podcasts | Android | Spotify | RSS The post The Year Ahead in Queer Cinema appeared first on Out Takes.

This week Richard is joined by Executive Producer Sue Maslin regarding the Cinema Nova screening of JILL BILCOCK: DANCING THE INVISIBLE, Justin Shoulder pops in to chat about the Arts House lates exhibition Carrion, andJohn Cameron Mitchell joins us on the line to talk about The Origin of Love: The Songs & Stories of Hedwig.

Maria chats to actor/author Greg Sestero, who played Mark in The Room, about The Disaster Artist, which releases at Hayden Orpheum Picture Palace, Luna Cinemas and Cinema Nova on November 30 and nationwide on the December 7.

Warren, Cassie and Simon in the studio this week to talk about technology, computing, gaming and startups. Ben Dechrai and Rick Giner from BuzzConf come in to talk about the program for this year. One of the organisers of the Drone Film Festival at Cinema Nova, Elmedin Kumalic (Elmo), comes in to talk about what makes an interesting drone film.

Silvi and Christina chat to film director Ivan Hexter about his work on Tunnel Vision, a new documentary about the protests against the East West Link, Tunnel screening with Secret Matters at Cinema Nova (380 Lygon St, Carlton), 5pm on Sunday July 16, as part of the Melbourne Documentary Film Festival.See omnystudio.com/listener for privacy information.

Christian chats to Johanna B Kelly, director of The Gateway Bug, a film about the benefits of an insect diet, screening as part of the Melbourne Documentary Film Festival on Sunday July 16, 3pm at Cinema Nova (380 Lygon St, Carlton).See omnystudio.com/listener for privacy information.

This week's feature interview is with Director John Pilger, who comes in to talk with Amy about his recent documentary The Coming War On China, now screening at Cinema Nova.

The team behind the prize-winning Australian comedy GIRL ASLEEP, including director Rosemary Myers, composer Harry Covill and stars Bethany Whitmore and Harrison Feldman, discuss the film's remarkable transition from the stage to the screen with critic Philippa Hawker. Recorded September 2, 2016

The 1966 book Hitchcock/Truffaut was as intriguing and exciting a read as its title suggested. Based on Francois Truffaut's 8-day interview with Alfred Hitchcock, it offered readers the chance to feel like a fly on the wall for the meeting of two of the most avant-garde film directors of the decade. At the time of their meeting at Hitchcock's Universal Studios office in 1962, the British auteur had recently released his fortieth feature, the hugely successful Psycho, while the young man from across the chanel had completed his directorial debut, The 400 blows, only 3 years ago. Hitchcock was arguably more open and generous with Truffaut than he was with any of his press interviewers, which was surely a testament to the depth of their shared love and understanding of the art form they were both dedicating their lives to. Present day filmmaker Kent Jones is evidently on this same level of cinematic appreciation. His documentary, which shares the same title as Truffaut's book, is much more than just a companion piece. This is partly because it is one thing to read a transcript of this mysterious conversation, but it is quite another thing to hear a recording of the exchange, to absorb the nuances of the interaction that took place through a French-English interpreter. This coupled with the pictures that were taken from the meeting almost make you feel that you are in that office with them. More importantly though, Jones has invited some of the most interesting, influential working filmmakers of the day to discuss how the “Master of Suspense" has inspired them and what they have admired most about his work. Bringing on board the likes of David Fincher, Wes Anderson, Richard Linklater and Martin Scorsese is no small feat. It is unfortunately a very homogeneous group, an all-white, all-male ensemble cast, sometimes saying very similar things. The lack of diversity is certainly felt strongly towards the end, when the conversation turns towards Psycho and Vertigo. As interesting and insightful as these men are, there are some perspectives they simply don't have. French director Olivier Assayas has plenty to say about the New Wave cinema of Truffaut's time, Scorsese is the ideal person to comment on on the history of the crime genre and on the nature of a directing career that spans several decades, but no one seems very well equipped to discuss the characters played by Janet Leigh or Kim Novak. It feels very strange for there to be no thorough discussion of the director's trademark casting of blonde actresses in roles that were much more femme fatale than ingenue. When it comes to Vertigo, the interviewees excel at describing how it harks back to the pure cinema of the silent era and how its impact extends far beyond its mediocre opening weekend, but their examination of the lead female is very a much a male perspective on Hitchcock's male perspective on the Jimmy Stewart character's male perspective of her character. An informed critique of the Hitchcockian blondes should really be sitting alongside this documentary's great sections on the man's famous fear of police and his often quoted belief that "actors are cattle." This documentary is excellent at providing the context surrounding this statement and the background to that very recurrent theme of false criminal suspicion. Cinema Nova will be screening Hitchcock/Truffaut from July 14, a week before the beginning of their upcoming festival featuring most of the highlights from Hitchcock's filmography. It will be opening with the 1954 drawing room thriller Dial M For Murder, in 3D funnily enough. When this little tidbit was announced at the critics screening I attended, the fellow next to me cried "oh Fuck off!" I wonder if that was Hitchcock's response when Warner Brothers told him to shoot it in 3D, or when he found out that they actually released it that way, or even when they asked him to make it. This wasn't a project he chose, he was under contract, and indeed, it is difficult to imagine him choosing this one for himself, despite it having the word "murder" in the title. Hitchcock/Truffaut purported that you could watch any Hitchcock film with the sound on mute and still understand 90% of what was happening. This film might just be the exception to that rule. It's definitely one of the most dialogue-heavy and dialogue-driven films that he made, with suitable theatrical performances from every member of the cast. It was quite obviously an adaptation of a play, in this case written by Frederick Knott. It follows the diabolical plot of a jealous husband (Ray Milland) to murder his wealthy adulterous wife (Grace Kelly) in order to get her money, a plan that of course goes terribly wrong. As tends to happen with plays, this one takes place almost entirely in one room, inside the couple's apartment. However, rather than being restricted creatively by the setting, Hitchcock of course knew how to work with this claustrophobia rather than against it in this very different medium. This film is also a prime example of another of his great skills that the documentary points out, his knowledge of when to draw out a moment that would normally fly by an instant, and when to contract an event we are used to seeing being played long. A devastating murder trial is one such moment, naturally because it is this film's centrepiece of the staple false conviction theme, the perfect opportunity to fully demonise the character of Chief Inspector Hubbard (John Williams), before it is shown that me might not actually be all that bad as far as policemen in Hitchcock films go. The conviction scene appears more like a psychedelic dream than a reality. As such it is one of the few dated parts of this now 62 year old film. As is also observed in the documentary, his films really haven't dated at all since they're very much human stories that aren't focused on any particular time period. Meanwhile, the scene of the pivotal telephone call of the title is markedly extended, to the point where we even see the lines being connected in the control room. The murder scene that immediately follows is naturally of the high standard that you would expect from this director, and was clearly the scene that was most important to him. However, the rest of the film is also well-paced and absolutely engrossing, even as Knott's writing becomes more gleefully convoluted by the second. This detailed documentary and uproarious crime thriller are both perfect for whetting your appetite before seeing North by Northwest, Strangers on a Train, Rear Window and all the others on the big screen. Review written by Christian TsoutsouvasSee omnystudio.com/listener for privacy information.

The 1966 book Hitchcock/Truffaut was as intriguing and exciting a read as its title suggested. Based on Francois Truffaut's 8-day interview with Alfred Hitchcock, it offered readers the chance to feel like a fly on the wall for the meeting of two of the most avant-garde film directors of the decade. At the time of their meeting at Hitchcock's Universal Studios office in 1962, the British auteur had recently released his fortieth feature, the hugely successful Psycho, while the young man from across the chanel had completed his directorial debut, The 400 blows, only 3 years ago. Hitchcock was arguably more open and generous with Truffaut than he was with any of his press interviewers, which was surely a testament to the depth of their shared love and understanding of the art form they were both dedicating their lives to. Present day filmmaker Kent Jones is evidently on this same level of cinematic appreciation. His documentary, which shares the same title as Truffaut's book, is much more than just a companion piece. This is partly because it is one thing to read a transcript of this mysterious conversation, but it is quite another thing to hear a recording of the exchange, to absorb the nuances of the interaction that took place through a French-English interpreter. This coupled with the pictures that were taken from the meeting almost make you feel that you are in that office with them. More importantly though, Jones has invited some of the most interesting, influential working filmmakers of the day to discuss how the “Master of Suspense" has inspired them and what they have admired most about his work. Bringing on board the likes of David Fincher, Wes Anderson, Richard Linklater and Martin Scorsese is no small feat. It is unfortunately a very homogeneous group, an all-white, all-male ensemble cast, sometimes saying very similar things. The lack of diversity is certainly felt strongly towards the end, when the conversation turns towards Psycho and Vertigo. As interesting and insightful as these men are, there are some perspectives they simply don't have. French director Olivier Assayas has plenty to say about the New Wave cinema of Truffaut's time, Scorsese is the ideal person to comment on on the history of the crime genre and on the nature of a directing career that spans several decades, but no one seems very well equipped to discuss the characters played by Janet Leigh or Kim Novak. It feels very strange for there to be no thorough discussion of the director's trademark casting of blonde actresses in roles that were much more femme fatale than ingenue. When it comes to Vertigo, the interviewees excel at describing how it harks back to the pure cinema of the silent era and how its impact extends far beyond its mediocre opening weekend, but their examination of the lead female is very a much a male perspective on Hitchcock's male perspective on the Jimmy Stewart character's male perspective of her character. An informed critique of the Hitchcockian blondes should really be sitting alongside this documentary's great sections on the man's famous fear of police and his often quoted belief that "actors are cattle." This documentary is excellent at providing the context surrounding this statement and the background to that very recurrent theme of false criminal suspicion. Cinema Nova will be screening Hitchcock/Truffaut from July 14, a week before the beginning of their upcoming festival featuring most of the highlights from Hitchcock's filmography. It will be opening with the 1954 drawing room thriller Dial M For Murder, in 3D funnily enough. When this little tidbit was announced at the critics screening I attended, the fellow next to me cried "oh Fuck off!" I wonder if that was Hitchcock's response when Warner Brothers told him to shoot it in 3D, or when he found out that they actually released it that way, or even when they asked him to make it. This wasn't a project he chose, he was under contract, and indeed, it is difficult to imagine him choosing this one for himself, despite it having the word "murder" in the title. Hitchcock/Truffaut purported that you could watch any Hitchcock film with the sound on mute and still understand 90% of what was happening. This film might just be the exception to that rule. It's definitely one of the most dialogue-heavy and dialogue-driven films that he made, with suitable theatrical performances from every member of the cast. It was quite obviously an adaptation of a play, in this case written by Frederick Knott. It follows the diabolical plot of a jealous husband (Ray Milland) to murder his wealthy adulterous wife (Grace Kelly) in order to get her money, a plan that of course goes terribly wrong. As tends to happen with plays, this one takes place almost entirely in one room, inside the couple's apartment. However, rather than being restricted creatively by the setting, Hitchcock of course knew how to work with this claustrophobia rather than against it in this very different medium. This film is also a prime example of another of his great skills that the documentary points out, his knowledge of when to draw out a moment that would normally fly by an instant, and when to contract an event we are used to seeing being played long. A devastating murder trial is one such moment, naturally because it is this film's centrepiece of the staple false conviction theme, the perfect opportunity to fully demonise the character of Chief Inspector Hubbard (John Williams), before it is shown that me might not actually be all that bad as far as policemen in Hitchcock films go. The conviction scene appears more like a psychedelic dream than a reality. As such it is one of the few dated parts of this now 62 year old film. As is also observed in the documentary, his films really haven't dated at all since they're very much human stories that aren't focused on any particular time period. Meanwhile, the scene of the pivotal telephone call of the title is markedly extended, to the point where we even see the lines being connected in the control room. The murder scene that immediately follows is naturally of the high standard that you would expect from this director, and was clearly the scene that was most important to him. However, the rest of the film is also well-paced and absolutely engrossing, even as Knott's writing becomes more gleefully convoluted by the second. This detailed documentary and uproarious crime thriller are both perfect for whetting your appetite before seeing North by Northwest, Strangers on a Train, Rear Window and all the others on the big screen. Review written by Christian Tsoutsouvas

Christian reviews the 2015 film Queen of the Desert, not to be mistaken for Priscilla: Queen of the Desert, which features actors Nicole Kidman, James Franco and Robert Pattinson. Queen of the Desert is the true story of Gertrude Bell, a traveller, writer, archaeologist, explorer, cartographer, and political attaché for the British Empire at the dawn of the twentieth century. The film was written and directed by Werner Herzog. Queen of the Desert is now showing at Cinema Nova.See omnystudio.com/listener for privacy information.

Christian reviews the 2015 film Queen of the Desert, not to be mistaken for Priscilla: Queen of the Desert, which features actors Nicole Kidman, James Franco and Robert Pattinson. Queen of the Desert is the true story of Gertrude Bell, a traveller, writer, archaeologist, explorer, cartographer, and political attaché for the British Empire at the dawn of the twentieth century.  The film was written and directed by Werner Herzog. Queen of the Desert is now showing at Cinema Nova.

Star of Hunt For The Wilderpeople, Julian Dennison, discusses the making of the film with comedian Cal Wilson before a live audience at Carlton's Cinema Nova. Recorded May 24, 2016.

Saturday April 23, 2016 marked 400 years since the death of William Shakespeare, and exactly 452 years since his birth. You have to appreciate the perfect symmetry of being born and being taken on the same day of the year, apparently due to some overzealous celebrating at his favourite pub. It also gives his global fanbase a reason to have two big celebrations each century. The latest of these, held at the Royal Shakespeare Theatre, is now being screened at Cinema Nova up until Wednesday May 18, accompanied by a short film about the history of these celebrations, which announces an intention to be more than just a collection of the bard's best known couplets and soliloquies. This gala is also a showcase of his extraordinary influence across so many different artforms. For instance, it was no surprise to get a performance of the balcony scene in Romeo and Juliet, with Mariah Gale as a particularly histrionic Juliet, but what I wasn't expecting was to see that same scene then danced by the Royal Ballet, with a powerful final tableau of both the dancers and the actors locked in a loving embrace. There's also a Shakespeare-inspired hip-hop performance, but not of the forced variety. As we are reminded by our delightful hosts, David Tennant and Catherine Tate, these works were the mainstream popular entertainment of their time, and were performed to much rowdier crowds than they tend to draw in today. The song ‘This gives life to thee’ by Akala, founder of the Hiphop Shakespeare company, is arguably just as lyrical and hard-hitting as the Elizabethan poetry that inspired it, and to have this sitting alongside performances from English National Opera made quite a statement about the equal value of all forms of art. The other musicals highlights were mostly jazz and blues renditions of some of the ballads from the comedies. All of them struck the right balance between true musicality whilst also supporting the poetry, rather than distracting from it. Whilst almost all of these were pre-recorded, Rufus Wainwright’s electric performance of Sonnet 29 proved to be the strong live vocal performance that the night needed. Fortunately, there was more than enough live acting, especially on the comedic front. A mixture of young, fresh faces and game old faces such as John Lithgow and Dame Judi Dench brought us some of the writer’s best scenes of farcical misunderstandings and absurd declarations of love. All of the numerous big names, which also include Roger Allam, Sir Ian McKellen, David Suchet and Helen Mirren, get brilliant chances to show off their comedic and their dramatic skills, except perhaps for Benedict Cumberbatch, who still felt rather underused. On the flip side though, the opening act, ‘Tonight’ from West Side Story performed by 19 of the UK’s top performing arts students, got off to a wobbly start as the cast and the orchestra were out of time, although it did eventually manage to pick itself up, especially as Maria’s part began. Henry Goodman and Rufus Hound didn’t fare so well either with the three-part, one-joke song ‘Brush Up Your Shakespeare’ from Kiss Me Kate. There is only so long one can listen to Shakespeare puns and still be amused, and the fluffed line towards the end certainly didn’t help matters. It is curious that while both the music and theatre acts were so strong, the musical theatre pieces were this far off the mark. There is also a series of short biographical films scattered throughout the acts, presented quite fittingly by Joseph Fiennes, who of course played the man himself in Shakespeare in Love nearly 20 years ago. While some of them are a bit on-the-nose educational, they do serve well to remind us of the humble origins of the legendary wordsmith, and also to contextualize the shift from the comedies to the tragedies, which seemed to occur after the death of his son, Hamnet, who was only 11 years old. At this point, we transition from the cheerful ditties and the comic misdemeanors to the deep, dark tragedies. Most notably, Othello is performed in a magical mixture of jazz and ballet, and, just in case anyone thought proceedings were going to stray too far from all the laughs and smiles, a star-studded comedy sketch surrounding the most overthought and overused line that Shakespeare ever wrote, “To be or not to be, that is the question,” is easily the highlight of the night. Just as predictably, but very fittingly, the final two acts feature the bittersweet final verses of The Tempest and A Midsummer Night’s Dream, two very poignant reminders of the immortality of a good story, despite the sad mortality of those who tell it, and where they tell it. Review written by Christian TsoutsouvasSee omnystudio.com/listener for privacy information.

Green Room is the latest film by Jeremy Saulnier, an American filmmaker whose two previous films, Murder Party (2007) and Blue Ruin (2013), both explore and analyse violence in various forms and settings. And now Green Room, which premiered at the Cannes film festival in 2015, extends this obsession to even darker territory. It centres on a punk band who goes to play at a small concert venue in the backwoods of Oregon, witnesses a murder, and is immediately taken hostage in the green room of the film's title and not allowed to leave. From then on, things only get worse. We start to find out more and more about the concert venue and the people behind it, the vice-like tension grows and grows and grows, and the blood of many a character is unceremoniously spilled. The cast includes Anton Yelchin and Alia Shawkat as members of the band, as well as Macon Blair, who's acted in and co-produced all of Saulnier's films. And, in an out-of-type casting, we have Patrick Stewart who excels as the owner of the venue, the main villain of the film. His performance is sinister and sociopathic, and is slightly reminiscent of Ben Kingsley's Don Logan from Sexy Beast, in manner and appearance. It's the type of performance where it's the reserved and contained nature of the character that provides the fear and intimidation, and not the explicit violence. Importantly, he's the type of villain who is never directly violent, but rather manipulates everyone around him into violence. And yes, the film is violent, but it's the same kind of sad and brutal violence that Saulnier has exhibited in his previous films, the kind of violence that really makes a strong point against it. The film takes no pleasure in its violence - not once in the film is the violence glorified or even shown as something for the audience to enjoy, whether it's being doled out by the "good guys" or the "bad guys", a distinction that in itself becomes increasingly blurred as the film goes on and everyone is forced into a situation of kill or be killed. In this way Saulnier raises many questions about the nature of the violence displayed by the characters, delving into the human psyche and finding out just what they're capable of. (I'm reminded of Sam Peckinpah's Straw Dogs (1972) where an ordinary teacher, a self-avowed pacifist, played by Dustin Hoffman, is put into an extreme situation and has no choice but to react very violently - and indeed Peckinpah in general is perhaps an apt comparison to Saulnier's work to date - both are directors whose films examine violence and attitudes to violence in impressively intricate detail.) Green Room is one of those rare films that is able to captivate you and capture that captivation, not letting go for the entirety of the film. It's gripping, horrifying and has just the right doses of very dark humour to tide you through the terror. Not for the faint of heart, but if you want to be taken for an intense, gory thrill-ride, then this is just the film for you. Green Room is out now exclusive to Cinema Nova. Review written by Ben VolchokSee omnystudio.com/listener for privacy information.

Green Room is the latest film by Jeremy Saulnier, an American filmmaker whose two previous films, Murder Party (2007) and Blue Ruin (2013), both explore and analyse violence in various forms and settings. And now Green Room, which premiered at the Cannes film festival in 2015, extends this obsession to even darker territory. It centres on a punk band who goes to play at a small concert venue in the backwoods of Oregon, witnesses a murder, and is immediately taken hostage in the green room of the film's title and not allowed to leave. From then on, things only get worse. We start to find out more and more about the concert venue and the people behind it, the vice-like tension grows and grows and grows, and the blood of many a character is unceremoniously spilled. The cast includes Anton Yelchin and Alia Shawkat as members of the band, as well as Macon Blair, who's acted in and co-produced all of Saulnier's films. And, in an out-of-type casting, we have Patrick Stewart who excels as the owner of the venue, the main villain of the film. His performance is sinister and sociopathic, and is slightly reminiscent of Ben Kingsley's Don Logan from Sexy Beast, in manner and appearance. It's the type of performance where it's the reserved and contained nature of the character that provides the fear and intimidation, and not the explicit violence. Importantly, he's the type of villain who is never directly violent, but rather manipulates everyone around him into violence. And yes, the film is violent, but it's the same kind of sad and brutal violence that Saulnier has exhibited in his previous films, the kind of violence that really makes a strong point against it. The film takes no pleasure in its violence - not once in the film is the violence glorified or even shown as something for the audience to enjoy, whether it's being doled out by the "good guys" or the "bad guys", a distinction that in itself becomes increasingly blurred as the film goes on and everyone is forced into a situation of kill or be killed. In this way Saulnier raises many questions about the nature of the violence displayed by the characters, delving into the human psyche and finding out just what they're capable of. (I'm reminded of Sam Peckinpah's Straw Dogs (1972) where an ordinary teacher, a self-avowed pacifist, played by Dustin Hoffman, is put into an extreme situation and has no choice but to react very violently - and indeed Peckinpah in general is perhaps an apt comparison to Saulnier's work to date - both are directors whose films examine violence and attitudes to violence in impressively intricate detail.) Green Room is one of those rare films that is able to captivate you and capture that captivation, not letting go for the entirety of the film. It's gripping, horrifying and has just the right doses of very dark humour to tide you through the terror. Not for the faint of heart, but if you want to be taken for an intense, gory thrill-ride, then this is just the film for you. Green Room is out now exclusive to Cinema Nova. Review written by Ben Volchok

Saturday April 23, 2016 marked 400 years since the death of William Shakespeare, and exactly 452 years since his birth. You have to appreciate the perfect symmetry of being born and being taken on the same day of the year, apparently due to some overzealous celebrating at his favourite pub. It also gives his global fanbase a reason to have two big celebrations each century. The latest of these, held at the Royal Shakespeare Theatre, is now being screened at Cinema Nova up until Wednesday May 18, accompanied by a short film about the history of these celebrations, which announces an intention to be more than just a collection of the bard's best known couplets and soliloquies. This gala is also a showcase of his extraordinary influence across so many different artforms. For instance, it was no surprise to get a performance of the balcony scene in Romeo and Juliet, with Mariah Gale as a particularly histrionic Juliet, but what I wasn't expecting was to see that same scene then danced by the Royal Ballet, with a powerful final tableau of both the dancers and the actors locked in a loving embrace. There's also a Shakespeare-inspired hip-hop performance, but not of the forced variety. As we are reminded by our delightful hosts, David Tennant and Catherine Tate, these works were the mainstream popular entertainment of their time, and were performed to much rowdier crowds than they tend to draw in today. The song ‘This gives life to thee’ by Akala, founder of the Hiphop Shakespeare company, is arguably just as lyrical and hard-hitting as the Elizabethan poetry that inspired it, and to have this sitting alongside performances from English National Opera made quite a statement about the equal value of all forms of art. The other musicals highlights were mostly jazz and blues renditions of some of the ballads from the comedies. All of them struck the right balance between true musicality whilst also supporting the poetry, rather than distracting from it. Whilst almost all of these were pre-recorded, Rufus Wainwright’s electric performance of Sonnet 29 proved to be the strong live vocal performance that the night needed. Fortunately, there was more than enough live acting, especially on the comedic front. A mixture of young, fresh faces and game old faces such as John Lithgow and Dame Judi Dench brought us some of the writer’s best scenes of farcical misunderstandings and absurd declarations of love. All of the numerous big names, which also include Roger Allam, Sir Ian McKellen, David Suchet and Helen Mirren, get brilliant chances to show off their comedic and their dramatic skills, except perhaps for Benedict Cumberbatch, who still felt rather underused. On the flip side though, the opening act, ‘Tonight’ from West Side Story performed by 19 of the UK’s top performing arts students, got off to a wobbly start as the cast and the orchestra were out of time, although it did eventually manage to pick itself up, especially as Maria’s part began. Henry Goodman and Rufus Hound didn’t fare so well either with the three-part, one-joke song ‘Brush Up Your Shakespeare’ from Kiss Me Kate. There is only so long one can listen to Shakespeare puns and still be amused, and the fluffed line towards the end certainly didn’t help matters. It is curious that while both the music and theatre acts were so strong, the musical theatre pieces were this far off the mark. There is also a series of short biographical films scattered throughout the acts, presented quite fittingly by Joseph Fiennes, who of course played the man himself in Shakespeare in Love nearly 20 years ago. While some of them are a bit on-the-nose educational, they do serve well to remind us of the humble origins of the legendary wordsmith, and also to contextualize the shift from the comedies to the tragedies, which seemed to occur after the death of his son, Hamnet, who was only 11 years old. At this point, we transition from the cheerful ditties and the comic misdemeanors to the deep, dark tragedies. Most notably, Othello is performed in a magical mixture of jazz and ballet, and, just in case anyone thought proceedings were going to stray too far from all the laughs and smiles, a star-studded comedy sketch surrounding the most overthought and overused line that Shakespeare ever wrote, “To be or not to be, that is the question,” is easily the highlight of the night. Just as predictably, but very fittingly, the final two acts feature the bittersweet final verses of The Tempest and A Midsummer Night’s Dream, two very poignant reminders of the immortality of a good story, despite the sad mortality of those who tell it, and where they tell it. Review written by Christian Tsoutsouvas

Review by Ebony Beaton Studio Ghibli’s lesser known film Only Yesterday is this year celebrating it’s 25th anniversary and is being re-released in Australia. Only Yesterday is unlike other studio Ghibli films. It cuts back the magical and child-like imagination that is usually the main premise within their films. It is a realistic drama, it is made for adults and is particularly aimed at women. It’s set in 1982 and follows Taeko, she is 27 and unmarried, and she grew up and lives and works in Tokyo. She takes a holiday to the countryside to visit the family of her elder brother of her brother-in-law, and is helping them on their organic farm to harvest safflower. She travels on the over night train and on her journey there begins to recall her childhood back in the 1960s. When she arrives at the station she is greeted by her brother in law's second cousin, Toshio, they barely know each other but quickly create a very strong bond. Through the film she finds her self more and more nostalgic of her past and it makes her reflect on her memories, good and bad, the film switches between the present and the past, showing us Taeko’s memories’ about childish romance, puberty and periods and the frustrations of math and boys. The film deals with growing up both as a child and the growing up you do when you’re an adult. One of the most beautiful parts of the film was when Taeko compared her self now and her past self going though puberty to that of a caterpillar turning into a butterfly, and how this time in her life and how when she was going though puberty to be the chrysalis stage of the caterpillar to butterfly, which to me is a really important message in how we never stop growing and learning. This film is filled with beautiful poetic imagery like this. The end of the film was particularly moving when Taeko was faced with either staying in the country side or to go back to the city, she boarded the train to go back to Tokyo, but before she reached the next station she was provoked by a vision of her past self as a 10 year old and she knew she belonged to stay in the country side. This film is amazingly beautiful, it speaks to so many themes and issues about growing up and how we never stop growing and how our past informs the present. Only Yesterday is in Japanese with English subtitles, it runs for 1 hour and 58 minutes and opens May 5th and is showing at Nova Cinema in CarltonSee omnystudio.com/listener for privacy information.

Review by Ebony Beaton Studio Ghibli’s lesser known film Only Yesterday is this year celebrating it’s 25th anniversary and is being re-released in Australia. Only Yesterday is unlike other studio Ghibli films. It cuts back the magical and child-like imagination that is usually the main premise within their films. It is a realistic drama, it is made for adults and is particularly aimed at women. It’s set in 1982 and follows Taeko, she is 27 and unmarried, and she grew up and lives and works in Tokyo. She takes a holiday to the countryside to visit the family of her elder brother of her brother-in-law, and is helping them on their organic farm to harvest safflower. She travels on the over night train and on her journey there begins to recall her childhood back in the 1960s. When she arrives at the station she is greeted by her brother in law's second cousin, Toshio, they barely know each other but quickly create a very strong bond. Through the film she finds her self more and more nostalgic of her past and it makes her reflect on her memories, good and bad, the film switches between the present and the past, showing us Taeko’s memories’ about childish romance, puberty and periods and the frustrations of math and boys. The film deals with growing up both as a child and the growing up you do when you’re an adult. One of the most beautiful parts of the film was when Taeko compared her self now and her past self going though puberty to that of a caterpillar turning into a butterfly, and how this time in her life and how when she was going though puberty to be the chrysalis stage of the caterpillar to butterfly, which to me is a really important message in how we never stop growing and learning. This film is filled with beautiful poetic imagery like this. The end of the film was particularly moving when Taeko was faced with either staying in the country side or to go back to the city, she boarded the train to go back to Tokyo, but before she reached the next station she was provoked by a vision of her past self as a 10 year old and she knew she belonged to stay in the country side. This film is amazingly beautiful, it speaks to so many themes and issues about growing up and how we never stop growing and how our past informs the present. Only Yesterday is in Japanese with English subtitles, it runs for 1 hour and 58 minutes and opens May 5th and is showing at Nova Cinema in Carlton

Q&A with A MONTH OF SUNDAYS director Matthew Saville, and actors Anthony LaPaglia and John Clarke

Meet the Filmmaker at Cinema Nova - A BIGGER SPLASH by Cinema Nova

Meet the Film Maker event for the 20th Anniversary of the Australian film Muriel's Wedding. Featuring Writer/Director P.J. Hogan, Editor Jill Bilcock ASE ACE, DP Martin McGrath ACS, Producer Lynda House, Production Designer Paddy Reardon and Sound Editor Glenn Newnham. Presented by the Australian Screen Editors, Australian Cinematographers Society, National Film and Sound Archive and Cinema Nova

HoHoHo....The Special Christmas 2009 edition of the Coffee Break, enjoy! [00:00]Xmas 2009 - intro by Andrea Bocelli (album: My Christmas) [01:29]All systems are running! [02:20]Send us your christmas tree pictures! [02:50]Executive Producer for this show: AMBROSIA Software [03:03]Get the Ambrosia Software Xmas 2009 Bundles HERE [04:32]Background music performed by Eleon. Track -Stepping Stones in Time- [04:57]Antiklimax plays -360 Degrees- [06:44]Darshan Ambient plays -Box of Sky- [12:52]Pete Dingon plays -Dive into the Blue- [17:10]Anawaty/Russell project, two men 8000 miles apart, a fantastic musical experience! [18:15]What are the first names of the members of Anawaty/Russell? [18:50]Send your answer to cass@sunbreakmusic.com and win a special autographed edition! [19:37]Anawaty/Russell play -The Enigmatic Smile Upon Her Lips of Beauty- [27:27]Lukas Termena RMX:nbsp; Parijat plays -Most Beautiful Splendor- [32:12]Having a sip of tea, soon on the show:nbsp;Parijat, big thanks to New Earth Records [35:39]Visiting the iTunes Store and play some snippets LIVE [39:25]Thank you for your donations! Keep this channel online, make a donation here [43:05]HoHoHo! Merry Christmas 2009 non-stop mix by TC [43:25]Craig Padilla plays -Alturas- [58:00]Darshan Ambient plays -The Gift- [1:04:10]UtopiaXO plays -Summer's Play- [1:07:40]UtopiaXO plays -Flying High- [1:11:11]Ben Cox plays -Pray for Rain- [1:18:57]Credits, links to sites, links to store, e-mail us, post your comments [1:20:20]Your favo Spacemusic track on our show again? Let us know your story! [1:20:43]Eleon plays -March of the Dreamer- (release: 2010) [caption id="" align="aligncenter" width="590" caption="Park Perspectives on a Sunday Afternoon - photo by Cinema Nova copy; 2009"][/caption] Special thanks to our Executive Producer for this episode: http://ambrosiasw.com Thanks for your donations, keep donating and help us survive! CLICK HERE Also we'd like to thank in particular: Cass Anawaty, Paul Russell, Michael Rogers, Lukas Termena. Have a wonderful Christmas and speak to you in 2010! NEXT SHOW: January 1st/2nd/3rd 2010 when there's storage available again on our serverhellip; Wanna increase our storage level? Feel free to make donations so we can buy more disk space HERE Thanks for your support! - Spacemusic Team - [ad#post-ad]