Shadows on the Wall | Arthouse Films

Shadows catches up ’25
Reviews of films I only managed to see late in the game...

On this page: BONUS TRACK | PICNIC AT HANGING ROCK

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See also: SHADOWS FILM FESTIVAL | Last update 16.Feb.25

Bonus Track
Review by Rich Cline | 4/5

dir Julia Jackman
scr Mike Gilbert
with Joe Anders, Samuel Small, Alison Sudol, Jack Davenport, Susan Wokoma, Ellie Kendrick, Josh O'Connor, Ray Panthaki, Colin Salmon
release UK 1.Jun.24,
US 11.Oct.24
23/UK Sky 1h38

LONDON FILM FEST

Is it streaming?

Set out like tracks on a mix tape, this British comedy traces a teen boy's everyday life as he begins to make sense of his identity. Warm and engaging, the story is cleverly told through an adolescent perspective, so most of what adults do is flatly incomprehensible, and each decision feels overwhelming. It's anchored beautifully by lead actors Joe Anders and Samuel Small, surrounded by an ace supporting cast.

In 2006, rootless 16-year-old George (Anders) feels like an outsider at school, thinking of little beyond forming a band, much to the annoyance of his music teacher Mr Zeppelin (Panthaki). And his parents (Davenport and Sudol) wonder what he will make of himself. Then George becomes intrigued by new classmate Max (Small), the son of a famous musician (Salmon). When Max asks for help with maths, George asks for Max's help working on music. As they become friends, they double-date girls and go on school trips, but struggle to accept their deeper feelings.

A sparky chemistry emerges between George and Max, as both are grappling with where they fit in the world. George is terrified of his colourful inner self, including his sexuality, while Max is desperate to escape the expectations of being in a celebrity family. And the paparazzi are invasively hounding his every move. The way George and Max come together romantically is beautifully underplayed, as they tentatively open up to each other, afraid of what others will think.

This is a lovely story about how important it is to find someone who understands your specific energy. And as it reminds us of the power of music to connect people, the film is punctuated with a range of catchy tunes. And there's an important kick in here, as the script points out that, even in an open, accepting society, children who don't feel like they fit in the mainstream can find it difficult to be honest with the people who love them. So where the story goes is wonderfully empowering.

themes, language 10.Feb.25

Picnic at Hanging Rock
Review by Rich Cline | 4/5

MUST SEE

Picnic at Hanging Rock
dir Peter Weir
scr Cliff Green
prd Hal McElroy, Jim McElroy
with Rachel Roberts, Dominic Guard, John Jarratt, Helen Morse, Kirsty Child, Wyn Roberts, Margaret Nelson, Anne Lambert, Christine Schuler, Karen Robson, Vivean Gray, Jacki Weaver
release UK 31.Oct.76,
US 2.Feb.79
restoration UK 21.Feb.25
75/Australia 1h55

Is it streaming?

Pristinely restored for its 50th anniversary, this gorgeously golden-hued Australian drama catches the imagination as its mysterious narrative unfolds. This is a sensuous film, shot and edited in ways that feel luxuriant, even as the story and characters remain grounded in deeper issues, from repressed sexuality to colonial tensions. So while the plot remains tantalisingly just out of reach, the people and places are vivid and unusually involving.

In 1900 Victoria, a girls' school is heading off for its annual Valentine's Day picnic. Headmistress Mrs Appleyard (Roberts) remains at the school with orphan student Sara (Nelson), while the other girls have a woozy day at Hanging Rock, lounging in the sunshine and forgetting about the time. Shockingly, three girls and a teacher go missing. English teen Michael (Guard), who lives nearby, becomes increasingly obsessed with finding them, while his friend Albert (Jarratt) keeps a watchful eye on him. And Mrs Appleyard begins to realise that this could spell the end for her school.

It's no wonder that this is the film that put Australian cinema on the world map, as it is strikingly directed by Weir to echo classical filmmaking styles while adding a local cultural twist. Along with several layers of simmering sexual tension under the surface, the story takes a nuanced approach to the contrast between local culture and British traditions. And Sara's subplot highlights the fragility of poor children in this society. Meanwhile, the towering rock adds an often startling undertone relating to the land itself, as the wind hums like a didgeridoo between the stones.

The film's swirly visuals create a dreamy tone that embraces the central mystery. Without a clear resolution, the film has sparked a range of responses from viewers over the decades, but this also makes it a rare movie with the power to haunt us long after watching it. In addition to Weir's textured direction, this is largely because the actors deliver authentic, offhanded performances that bristle with personality quirks, suggesting relationships and secrets in every scene. It's a timeless classic that deserves to be back on the big screen where it belongs.

themes, language, violence 22.Jan.24

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See also: SHADOWS FILM FESTIVAL