The film is set in a house occupied by a collection of social misfits. The main storyline is that of a strange musician's relationship with a girl, their drug use and his band. These events... See full summary »
Spanish girl Teresa comes to Milan to meet Ponchia, Marco, Paolino and Cedro who have not seen each other for years: her man, their old friend Rudy, is in jail in Marrakech and needs help ... See full summary »
Brett Sprague is a violent and psychopathic man, who is released on parole after serving a sentence for assault. As he returns to his family house and we watch him and his brothers, Stevie ... See full summary »
Cesare Botero (Nanni Moretti) is a young minister well-known to be corrupted and corrupter. He is looking for an appropriate spokesman. He finds the right person in Prof. Luciano Sandulli (... See full summary »
Seymour is a loner. A small, shy, introverted eleven year old whose parents are separated. By chance Seymour meets the beautiful, effervescent but drug-addicted Angie, who is also lonely ... See full summary »
Sudi de Winter,
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
The opening line of the credits reads 'For Michael 1960 -1997', referring to Michael Hutchence, a close friend of director Lowenstein. 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!
See more »
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.
14 of 15 people found this review helpful.
Was this review helpful to you?