Explores sisters, in their twenties, their parents, and family dysfunctions. Kay is gangly and slightly askew, consulting a fortune teller and then falling in love with a man because of a ... See full summary »
Explores sisters, in their twenties, their parents, and family dysfunctions. Kay is gangly and slightly askew, consulting a fortune teller and then falling in love with a man because of a mole on his face and a lock of hair; then, falling out of love when he plants a tree in their yard. Sweetie is plump, imperious, self-centered, and seriously mentally ill. The parents see none of the illness, seeing only their cute child. Kay mainly feels exasperation at her sister's impositions. Slowly, the film exposes how the roots of Sweetie's illness have choked Kay's own development. Can she be released? Written by
an original vision..consistently followed through.
The humour is what sets this film apart (as well as lush and particular style of framing/lighting) that makes the film world of "Sweetie" feel idiosyncratic, nightmarish and lurid.
Whether or not it's your cup of tea, (and a pastel pink cup full of sacharine and strichnine is not everybody's cup of tea) it has to be applauded on a critical level.
Along with contemporary Australian classics "The Night The Prowler" "Strictly Ballroom" "Starstruck" and "The Cars that Ate Paris" this film was the innovator of what later became a formula for Australian funding models vis a vis...quirky.
But the early work was wonderfully dark and had a knowing sense of camp -- where later work failed.
4 of 5 people found this review helpful.
Was this review helpful to you?