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Between getting trashed, tripping, blowing guys off and writing songs, Mark falls for Stephen. Fig and Sally put perform Marks songs between casual sex with anyone and everyone. Katie is a ... See full summary »
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Leeanne Rosser a strong but world-weary 20 year-old solo mother, sits on a hot train with her one-year-old, half-Samoan son Sam. It's her mother's birthday and Leeanne and Sam put up with the heat to visit her in Wainuiomata. But her mother is feeling the pull of the church, and refuses to accept Leeanne's baby born out of marriage. Leeanne's father is helpless to bring them together. Unknown to all of them, Leeanne's brother Brent is out creating mischief. He pretends to be a student or a bible salesman, and then robs houses when their owners are absent. Today an unsuspecting victim, Ulla, returns home during his robbery. Brent panics and sends Ulla plummeting down the steps with a sickening crack. For Leeanne and her family, and Ulla and her family, from that moment on, everything is changed. Ulla is paralyzed, her neck broken. Ulla has a 15 year-old daughter Olivia and an estranged husband Athol, who still lives at home and buries himself in his rental properties. Her husband's ... Written by
NZ Film Commission
Fracture came out around the same time as In My Father's Den, another Maurice Gee adaptation, and seemed to disappear from the public eye as quickly as IMFD became THE NZ film of the year in 2004 and, for many, the great NZ film we had been waiting for since old PJ started to hint that it might be possible. Which was a big plus for IMFD but a big shame for Frature - for this isn't a bad little film. If not quite up their with its bigger and certainly superior cousin this film is still there or abouts nonetheless, and a lot better than I suspected it might be. The film basically takes its title as the basis for its narrative structure: shards of what turns out to be a relatively simple story are posited within the labyrinthine walkways of Wellington's Kelburn, a hillside suburb renown for its confusing back streets and pathways, vertical steps and an ever-extending university campus. The violence of the fast cutting and swift editing of the opening that includes a bungled burglary and the story's monadic attack on a woman slowly resolves into a violence of a different kind. The cerebral, the domestic, the emotional come under fire from various quarters, culminating in death for one protagonist and a whole swag of grace for another. It seems to work in a similar way to the excellent Lantana, if not pulling off the same emotional intensity. Its good, better than than the other reviewer here might have you believe. Well I think so anyway.
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