A brilliant recent graduate struggles to find work. After falling into a babysitting job, she is introduced by the child's mother to the world of the international call center, its employees, and the fast pace that drives them.
A Melbourne family is very happy living where they do, near the Melbourne airport (according to Jane Kennedy, it's "practically their back yard"). However, they are forced to leave their ... See full summary »
A vicious serial sex killer is on the loose, and landscape gardener and shop-window outfitter Loris is the prime suspect, thanks to his unfortunate habit of getting caught in compromising ... See full summary »
Based on Paolo Villaggio's books "Fantozzi" and "Il secondo, tragico Fantozzi", which are popular in Italy, this film tells the story of an unfortunate accountant's life over the course of ... See full summary »
A search for love, meaning and bathroom solitude. Danny goes through a series of shared housing experiences in a succession of cities on the east coast of Australia. Together these vignettes form a narrative that is surprisingly reflective. Written by
Sam's comment, "... the recession we had to have ...", is a quote from former Australian treasurer, Paul Keating, Keating famously referred to the early 1990s recession in Australia as "the recession we had to have". Keating's statement caused much comment in Australia and cost the then Labor government much support. The quote has since been parodied in Australia in many different situations. See more »
In the scene with Dirk and Nina arguing over the pineapple chunks, the label on the can changes from shot to shot, from "pineapple pieces" to "sliced pineapple". Neither can contains "pineapple chunks" as said in the dialogue. See more »
Flip, turn the fucking TV off! People are trying to sleep.
[Flip does not respond]
Flip, have some fucking consideration.
[Danny turns the TV off]
For Christ's sake, Flip... Flipster? Oh, shit. Shit! Fuck!
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Apologies to: Jean-Luc Godard, Buster Keaton, Louise Brooks, Anna Karina, Antonin Artand, Robert Bresson, Jean-Pierre Melville, Andrei Tarkovsky, Fedorico Fellini, Emir Kusturica, Wong Kar Wei, Yasujiro Ozu, Jean-Paul Satre, Simone de Beauvoir, Jean-Paul Belmondo, Jean-Pierre Leaud, Alain Delon, Francis Ford Coppola, Elvis Presley & Sandy Harbutt. See more »
Putting John Burningham's best-selling but episodic reminiscences of house-sharing into a watchable feature film was quite a challenge, but a veteran house-sharer, Richard Lowenstein (`Dogs in Space'), succeeds here by having several of the more interesting and bizarre characters follow the narrator (Noah Taylor) from city to city. The felafel, in fact, a throwaway line in the book, is given centre stage, and the result is a well-focused tale of the horrors of house-sharing it's the `Secret Life of Us' meets `Romper Stomper'.
Noah Taylor is one of those actors who cannot fail if given a goofy role, and here he is perfect as Danny, the aspiring writer roughing it with a collection of druggies, minor criminals, aspiring sorceresses and actors, while trying to evade his creditors and write a prize-winning story for `Penthouse'. Allegedly irresistible to women, he fails badly with his female housemates. As one of them says, incredulously: `Have an affair with you? I'm not a masochist!'
Romane Bohringer gives another strong performance as Anya, a sort of social bomb-thrower with a taste for Druid ritual, who puts any place she joins into an uproar in no time. Then there is Taylor the mad drunk (Alex Menglet), Flip the junkie (a touching performance from Brett Stewart), Nina the terminally vain soap actor (Sophie Lee hopefully not as herself) Iain the doctrinaire socialist (Ian Hughes in Melbourne of course) and Dirk the emerging homosexual (Francis McMahon), amongst others. Some of the landlord's agents do not lack colour either eg Linal Haft's rent collector as gangster in Brisbane.
All these characters are somehow accommodated in the story, though an early peak (the great bikie party in the Brisbane house) is followed by rather a flat period in Melbourne. Once the circus reaches Sydney, however, things pick up again perhaps it's the more effervescent air.
The tropical squalor of the first house, a battered `Queenslander,' reminded me a little of `Praise', a vastly different film in tone, but Danny is not necessarily one of life's defeated, though it seems like that sometimes. This movie has a decidedly upbeat tone; the last place might have been pretty rugged, bet there's always the hope of something more salubrious, or at least of more congenial flatmates. No doubt admirers of the book will take offence at what has been left out, but Lowenstein should be given credit for giving it a cinematic context.
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