Metamorphoses revealed an erotic, contemporary interpretation of the Roman poet Ovid’s most famous work. Strange mythological events occurred, from animal curses, to constant intercourse in the forest, among other dark doings. But the storytelling was too spasmodic.
Turbo Kid was post-apocalyptic, comedic, grotesquely violent, and awkwardly romantic, with hilarious pedaling across the wasteland on BMX bikes and all the junk that brings out 90s nostalgia. Audiences will love the weird old-school vibes.
Gayby Baby promoted the lives of children with same-sex parents, but more diversity could’ve been shown if transgender parents were included in the mix.
The Pearl Button displayed Patricio Guzman’s trademark blend of astronomy and Chilean history, telling stories of the Indigenous people of Patagonia whose heritage was lost due to colonisation, and the surviving prisoners of Pinochet’s tortures on Dawson Island.
For The Dendy Awards I felt that Whispers Among Wolves deserved the live-action award instead of A Single Body, because a relationship between a powerful yet alcoholic CEO and her exasperated personal assistant is stronger than a butcher story.
Kabukicho Love Hotel revealed in a kinky, hilarious way the underbelly of Japanese sexual commodification. Fluctuating between various promiscuous doings, including prostitution, drug dealing, crime and split loyalties, Ryuichi Hiroki masterfully tells a heavy story in a lighthearted way.
While I wasn’t keen on everything, I still recommend the Sydney Film Festival. The best way to learn about films is to simply go and watch them to make your own judgment.
