‘When Pomegranates Howl’.
Adelaide Film Festival has revealed its full program for 2020, including the world premieres of local titles When Pomegranates Howl, Yer Old Father, This is Port Adelaide, ShoPaapaa, and more, as well as a special strand dedicated to Australian indies.
Overall, the biennial festival – due to be an entirely physical event thanks to dedicated Covid-Safe plans – has snared a total of 54 features from more than 40 countries, including 22 world premieres and 27 Australian premieres.
As previously announced, the festival will open with Seth Larney’s sci-fi thriller 2067, starring Kodi Smit-McPhee, Ryan Kwanten and Deborah Mailman, and will close out with the Sundance Grand Jury Prize and Audience Award winner, Lee Isaac Chung’s Minari.
Stephen Johnson’s High Ground, which bowed in Berlinale, will vie in the festival’s official competition, up against Thomas Vinterberg’s Another Round; Christos Nikou’s Apples, Dea Kulumbegashvili’s Beginning, Yolqin Tuychiev’s 2000 Songs of Farida,...
Adelaide Film Festival has revealed its full program for 2020, including the world premieres of local titles When Pomegranates Howl, Yer Old Father, This is Port Adelaide, ShoPaapaa, and more, as well as a special strand dedicated to Australian indies.
Overall, the biennial festival – due to be an entirely physical event thanks to dedicated Covid-Safe plans – has snared a total of 54 features from more than 40 countries, including 22 world premieres and 27 Australian premieres.
As previously announced, the festival will open with Seth Larney’s sci-fi thriller 2067, starring Kodi Smit-McPhee, Ryan Kwanten and Deborah Mailman, and will close out with the Sundance Grand Jury Prize and Audience Award winner, Lee Isaac Chung’s Minari.
Stephen Johnson’s High Ground, which bowed in Berlinale, will vie in the festival’s official competition, up against Thomas Vinterberg’s Another Round; Christos Nikou’s Apples, Dea Kulumbegashvili’s Beginning, Yolqin Tuychiev’s 2000 Songs of Farida,...
- 9/9/2020
- by jkeast
- IF.com.au
Craig Lahiff, director/writer and producer and one of the pillars of the South Australian screen industry, died in Adelaide on Sunday after a short illness. He was 66.
His final film, Swerve, a thriller about an honest guy who stumbles upon a suitcase of money and a decapitated body on a desert highway, starring David Lyons, Jason Clarke and Emma Booth, was released in Australian cinemas in 2012 and was sold to the Us and the UK.
Helen Leake produced three films with Lahiff: Heaven.s Burning, Black and White and Swerve. .Renowned for his calmness and quiet persuasion in all aspects of his work Craig brought to all of his films a very clear vision that he imparted to all his collaborators,. she said. .Long-time friend Louis Nowra recalls Craig.s .grace under pressure. as a director, and all his colleagues found his craft skills and technical understanding of all...
His final film, Swerve, a thriller about an honest guy who stumbles upon a suitcase of money and a decapitated body on a desert highway, starring David Lyons, Jason Clarke and Emma Booth, was released in Australian cinemas in 2012 and was sold to the Us and the UK.
Helen Leake produced three films with Lahiff: Heaven.s Burning, Black and White and Swerve. .Renowned for his calmness and quiet persuasion in all aspects of his work Craig brought to all of his films a very clear vision that he imparted to all his collaborators,. she said. .Long-time friend Louis Nowra recalls Craig.s .grace under pressure. as a director, and all his colleagues found his craft skills and technical understanding of all...
- 2/3/2014
- by Don Groves
- IF.com.au
Opened Friday Jan. 9
LONDON -- In a remote desert town in South Australia in 1958, a 9-year-old girl is found raped and murdered. On the flimsiest evidence, local police almost immediately arrest a young Aboriginal man and obtain a confession. Only the efforts of a stubborn, inexperienced Adelaide lawyer stand between the accused and the hangman.
Craig Lahiff's sturdy courtroom drama "Black and White", based on real events, follows a predictable path and is unlikely to make substantial gains at the boxoffice, but it's a laudable effort and certain to please fans of Robert Carlyle.
The "Full Monty" star plays obstinate lawyer David O'Sullivan, whose dislike of the antiquated British-based Australian judiciary drives him to take seriously a case he's obliged to take without a fee. He quickly learns that the Aboriginal, Max Stuart, played with unsentimental grace by David Ngoombujarra, is illiterate and put his mark on a confession he couldn't read.
When it turns out that Curtis was in police custody for being drunk at the time the murder took place, it appears that a dismissal is inevitable. But the pathologist changes her mind and fixes the death outside the time frame of his alibi.
Only when he's sent for trial does Curtis claim that the police beat him in order to obtain the confession. By now, O'Sullivan is going head-to-head with a pillar of the judicial establishment, Roderic Chamberlain, played with typical elegance and power by Charles Dance.
More evidence emerges that tends to suggest Curtis' innocence when a compassionate priest becomes involved, but Curtis is convicted and sentenced to hang. O'Sullivan's fight to win appeals goes all the way up to a Royal Commission, putting Curtis near the hangman's door seven times, while the local newspaper -- published by one Rupert Murdoch -- gets on the bandwagon to defend him.
Ben Mendelsohn plays the young Murdoch as a callow opportunist, and the film suggests that his enthusiasm for the campaign swiftly ended when he was threatened with prosecution for seditious libel.
The film dips a toe into the role of newspapers influencing trials but drops it as a topic to focus on O'Sullivan's class struggle with Chamberlain. Screenwriter Louis Nowra and director Lahiff develop that theme effectively and take the trouble to invest Chamberlain with considerable human dimension.
There is a clever scene in which the aristocratic hopeful for the chief justice's chair snarls out his view of the case to his wife and their genteel friends, sparing them no brutal detail of the rape and murder as he believes they happened.
O'Sullivan runs into almost uniformly supercilious representatives of the British legal establishment, however, all with condescending stares and snooty voices. But the lawyer's dependence on his reluctant but loyal partner, played sympathetically by Kerry Fox, is well drawn, and at no point does Carlyle allow himself to showboat. His is a fully professional performance that shows no strain from the fact that he carries the film on his shoulders.
Lahiff shows little visual flair, and the film will fit nicely on the small screen. It's a grim tale not told in a grim way
an honorable argument not angry enough. A bit more of Chamberlain's superb self-belief might have given the piece a lot more power.
BLACK AND WHITE
Tartan Films
Credits:
Director: Craig Lahiff
Screenwriter: Louis Nowra
Producers: Helen Leake, Nik Powell
Director of photography: Geoffrey Simpson
Production designer: Murray Picknett
Costume designer: Annie Marshallp
Editor: Lee Smith
Cast:
David O'Sullivan: Robert Carlyle
Roderic Chamberlain: Charles Dance
Helen Devaney: Kerry Fox
Father Tom Dixon: Colin Friels
Rupert Murdoch: Ben Mendelsohn
Max Stuart: David Ngoombujarra
Running time -- 100 minutes
No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
LONDON -- In a remote desert town in South Australia in 1958, a 9-year-old girl is found raped and murdered. On the flimsiest evidence, local police almost immediately arrest a young Aboriginal man and obtain a confession. Only the efforts of a stubborn, inexperienced Adelaide lawyer stand between the accused and the hangman.
Craig Lahiff's sturdy courtroom drama "Black and White", based on real events, follows a predictable path and is unlikely to make substantial gains at the boxoffice, but it's a laudable effort and certain to please fans of Robert Carlyle.
The "Full Monty" star plays obstinate lawyer David O'Sullivan, whose dislike of the antiquated British-based Australian judiciary drives him to take seriously a case he's obliged to take without a fee. He quickly learns that the Aboriginal, Max Stuart, played with unsentimental grace by David Ngoombujarra, is illiterate and put his mark on a confession he couldn't read.
When it turns out that Curtis was in police custody for being drunk at the time the murder took place, it appears that a dismissal is inevitable. But the pathologist changes her mind and fixes the death outside the time frame of his alibi.
Only when he's sent for trial does Curtis claim that the police beat him in order to obtain the confession. By now, O'Sullivan is going head-to-head with a pillar of the judicial establishment, Roderic Chamberlain, played with typical elegance and power by Charles Dance.
More evidence emerges that tends to suggest Curtis' innocence when a compassionate priest becomes involved, but Curtis is convicted and sentenced to hang. O'Sullivan's fight to win appeals goes all the way up to a Royal Commission, putting Curtis near the hangman's door seven times, while the local newspaper -- published by one Rupert Murdoch -- gets on the bandwagon to defend him.
Ben Mendelsohn plays the young Murdoch as a callow opportunist, and the film suggests that his enthusiasm for the campaign swiftly ended when he was threatened with prosecution for seditious libel.
The film dips a toe into the role of newspapers influencing trials but drops it as a topic to focus on O'Sullivan's class struggle with Chamberlain. Screenwriter Louis Nowra and director Lahiff develop that theme effectively and take the trouble to invest Chamberlain with considerable human dimension.
There is a clever scene in which the aristocratic hopeful for the chief justice's chair snarls out his view of the case to his wife and their genteel friends, sparing them no brutal detail of the rape and murder as he believes they happened.
O'Sullivan runs into almost uniformly supercilious representatives of the British legal establishment, however, all with condescending stares and snooty voices. But the lawyer's dependence on his reluctant but loyal partner, played sympathetically by Kerry Fox, is well drawn, and at no point does Carlyle allow himself to showboat. His is a fully professional performance that shows no strain from the fact that he carries the film on his shoulders.
Lahiff shows little visual flair, and the film will fit nicely on the small screen. It's a grim tale not told in a grim way
an honorable argument not angry enough. A bit more of Chamberlain's superb self-belief might have given the piece a lot more power.
BLACK AND WHITE
Tartan Films
Credits:
Director: Craig Lahiff
Screenwriter: Louis Nowra
Producers: Helen Leake, Nik Powell
Director of photography: Geoffrey Simpson
Production designer: Murray Picknett
Costume designer: Annie Marshallp
Editor: Lee Smith
Cast:
David O'Sullivan: Robert Carlyle
Roderic Chamberlain: Charles Dance
Helen Devaney: Kerry Fox
Father Tom Dixon: Colin Friels
Rupert Murdoch: Ben Mendelsohn
Max Stuart: David Ngoombujarra
Running time -- 100 minutes
No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
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