10.4 C
Byron Shire
August 15, 2022

Cinema Review: Everybody Knows

Latest News

Mud benda rant

Regarding last week’s Splendour Festival and all the ‘haters’ out there. I took along a few seriously fun-deprived teenage...

Other News

Our growth under threat, say local distillers

Local independent distillers behind iconic labels Ink Gin and Brookie’s Byron Dry Gin say a longstanding ‘bad’ government policy that taxes spirits unfairly, compared to other alcohol such as wine, is putting thousands of jobs at risk in a ‘dangerous high inflation environment’.

Powerhouse six

Bearfoot is a powerhouse sextet that knows how to dig in and get a crowd bouncing, then brings them...

Recognition for Brunswick SLSC volunteers

Five national medals presented on behalf of Governor General David Hurley were some of the awards given to Brunswick...

Mullum pods

First, Hans Lovejoy’s article ‘emergency wedged’ was educational, factual and provided valuable information to the community. Michele Grant’s letter...

Singing songs of sorrow and resilience

Tucked away in a Mullumbimby music studio, a group of local musicians have been pouring their hearts out through song.

Recognising history

I arrived in Mullum from Sydney in 1976 – I loved the town and the people and felt like...

Everybody Knows

Iranian Asghar Farhadi is one of the most original and compelling writer/directors working today. A Separation (2011) and The Salesman (2016) – both Oscar winners – were so far above much of the dross that is churned out by mainstream cinema that the arrival of his latest was more than keenly anticipated. And it didn’t disappoint. Farhadi does not adhere to the idea that there is a clear distinction between who is right and who is wrong. Nor does he opt for the simplicity of having a protagonist and antagonist in the traditional sense – his people are just like you and me, caught up in life’s maelstrom of uncertainties. This time his story is set in Spain. Laura (Penélope Cruz) has returned from Argentina to attend her sister’s wedding and re-connect with friends and family. During the celebrations, her teenage daughter Bea is abducted. A ransom is demanded and Paco (Javier Bardem), a wine-grower and former flame of Laura, emerges as the only person in a position to raise the money – if he sells his estate. Old resentments and secrets that are not really secrets (because ‘everybody knows’) bubble to the surface while the problem of what to do about Bea is argued over. This is a ‘slow burn’ of the highest, most absorbing quality, as all characters begin to fray at the edges. The rich, almost tactile cinematography of the first half eventually gives over to a mood that is quieter, but with passions on the verge of erupting at any moment. Bardem and Cruz, probably because they are performing in their native tongue, have never been better and the fabulous Ricardo Darin, as Bea’s father, arrives on the scene when the mystery of the girl’s whereabouts intensifies. Underpinning it all is the ancient theme of land and long held grudges over its ownership. And how easy it is to forget what a treat it can be to listen to the ebb and flow and cadences of another language – the Spanish is simply beautiful in its own right.

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