"Goddess" stands for French "Déesse", the nickname of Citroën DS, the name of a famous car designed in the fifties. A young and well-situated Japanese man is dreaming of such a car, and one...
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Near the beginning of the Tang dynasty, in 7th century China, General Shi Yan-sheng is tricked into leaving the crown prince unguarded. The crown prince is murdered by one of his brothers ... See full summary »
Tony Stilano and Trev Spackneys both own, live over and work in adjoining take-away fish shops in Melbourne. Although they have fallen into a habitual rivalry based on a cause long ... See full summary »
Based on the true events surrounding Frank Sinatra's tour of Australia. When Sinatra calls a local reporter a "two-bit hooker", every union in the country black-bans the star until he issues an apology.
Portia de Rossi
An aging Hong Kong couple move to Australia with their two youngest sons. They stay with a daughter who has already begun a successful career. Meanwhile their eldest daughter lives in ... See full summary »
Annette Shun Wah,
Anthony Brandon Wong
The story is about Iris' rise to the apex of a love/power triangle that includes her roguish English lover McHeath and Art, an earnest young boxer. Within the flawed moral landscape, each character struggles to establish their sovereignty.
"Goddess" stands for French "Déesse", the nickname of Citroën DS, the name of a famous car designed in the fifties. A young and well-situated Japanese man is dreaming of such a car, and one fine day he finds an offering on the net. He calls the seller (a man living in Australia), they agree upon the price and so he travels to Australia in order to buy the car. But when he reaches his destination, there's chaos all around: The seller as well as his wife lay dead in their house and a 17 year old girl lets him in and offers him something to eat. He walks out with horror but then comes back because he forgot to ask about the car... The girl lets him see the car, and then they start a 5 day trip through the outback, and, at the same time, a trip back in time into the early youth of the girl and into her family's chronicle. Written by
If you are driving or contemplating a purchase of a featureless economical car with automatic transmission, or if you have REALLY managed to bear the tedious 3 hours of `The Titanic' without leaving the theatre for a half-an-hour refreshment or for good, THE GODDESS OF 1967 is not a film for you. On the other hand, if you are sick of being able to predict the remaining two and a half hours of the contemporary Hollywood mind-numbing production, Clara Law has a remedy for you! Moreover, if you have ever fallen in love with a car, you would be even more delighted to see that there are people like you out there.
The first hint of the cinematic joy that THE GODDESS OF 1967 offers is clear from the first 10 minutes of the film. That is, you realise that behind the whole idea, no matter what it is going to be, there is the AUTHOR, and not the producers, stuntmen, pyrotechnicians, special-effect crew, low-IQ charity Clara Law is an author with a `handwriting', reminiscent to that of Jim Jarmush or Wim Wenders, but still far from an immitator. Not many authors opt for using a variety of `narative techniques' that film as a media offers. It can be `slippery ground' since the story line can easily be overshadowed by the means of telling it. However, Clara Law bravely takes the challenge, carrying us smoothly through the wonderful world of moving pictures backed by enchanting music.
Thematically, THE GODDESS OF 1967 incorporates a number of topics, child abuse being but one of them. In fact, it poses questions before us, through the mouth of the blind girl. Questions seemingly so simple that most of us would not bother asking, yet most of us would not be able to answer them, as well as the characters in the film remain perplexed, stammering nonsense that reverberates mockingly.
THE GODDESS OF 1967 is a meeting point of several worlds. Not only the Japanese and the Australian meet there, but also the European, embodied in the relic car symbolising the old virtues and culture refusing to die out. Further, overpopulated Tokyo is contrasted to the vast Australian landscape, both offering an abundance of colour, sounds and even smells. The good and the evil, love and hate, reason and absurdity, trauma and optimism, gloom and humour are interwoven into the plot with straightforward simplicity, which makes the film surprisingly lifelike. All these worlds and plans are uncompromisingly exposed, celebrating beauty but not hiding ugliness. Finally, the film brings all these worlds closer to us, making us richer for knowing one another better.
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