Tag: sydney film festival

I Hope I’m Loud When I’m Dead

Beatrice Gibson

By Holly Isemonger — 9 August, 2019

We’re on a packed train on the London underground and Beatrice Gibson is having a panic attack. Her confessional voiceover is paired with images of destruction, global turmoil, family footage of kids playing, and domestic life. Through this kaleidoscopic collage of life in the 21st century, I Hope I’m Loud When I’m Dead (2018) asks:…

One Child Nation

Nanfu Wang &

Jialing Zhang

By Claire Cao — 5 July, 2019

The birth of Communist China heralded an explosion of life. Cocooned in the monumental shadows of the Gate of Heavenly Peace, Mao Zedong publicly avowed that a greater population meant greater power for his fledgling state. Like blood haemorrhaging from a cut, births increased—by the late ‘70s, China had a population of more than 900…

My Nudity Means Nothing

Marina de Van

By Eloise Grills — 2 July, 2019

  In the pre-Jackie period, when I was on Tinder, my friend and I engaged in a contest to see how many people we could sleep with.     I only amassed four bedpost notches before I quit. I am a bad dater. I hate going out, sleeping in beds that aren’t mine.    …

Witkacy & Malinowski: a cinematic séance in 23 scenes

John Gillies

By Tyler Patterson — 11 June, 2019

On the first day of spring in 1914, a train tore through the Australian countryside en route to Toowoomba from Brisbane. Belching smoke and swallowing shovelful after shovelful of coal, it carried the anthropologist Bronislaw Malinowski, who was touring Australia with the British Association for the Advancement of Science Congress, and his childhood friend—the artist-playwright…

Terror Nullius

Soda_Jerk

By Lauren Carroll Harris — 25 May, 2018

Soda_Jerk are bomb-throwers. For more than fifteen years, the Australian, New-York-based collaborative unit have made an art practice out of cutting, collaging and appropriating—watching for the blind spots in the official narratives of culture, politics and history, fascinated less by what’s present than what’s omitted. Now, in their 55-minute video work, Terror Nullius (2018), they…