Tag Archives: Documentary

Human Rights Arts & Film Festival – Melbourne

HRAFF

Privilege is not in and of itself bad; what matters is what we do with privilege … Privilege does not have to be negative, but we have to share our resources and take direction about how to use our privilege in ways that empower those who lack it

bell hooks, Homegrown: Engaged Cultural Criticism

I recently attend the excellent Australian Human Rights Arts & Film Festial (HRAFF) in Melbourne where a collection of short films were presented at the Australian Centre for the Moving Image (ACMI).  The HRAFF has been running for nine few years, and seeks to “hold a mirror to the uneasy truths of our times and reflect our stories” through creative means – and that it does.

acmiThe International Shorts screening that I attended comprised a collection of five award winning films from around the globe that presented a broad range of international and social issues in bold, despairing, humorous and challenging ways.  All of the five films (perhaps with exclusion of Ave Maria) where tied together by common themes of: power, privilege and capacity.

The film-suite seemed to emphasise how privileged we are in Australia, while also inspiring and subtly challenging the audience to consider how we can more fully use our vast capacity to facilitate change and empowerment of vulnerable people both locally and internationally.

 

I have briefly reviewed each of the respective short films:

Shipwreck (2014: Netherlands and Italy – 15min) shipwreck

Using clever camerawork to provide a feeling of disorientation as well as buoyancy at sea, this Shipwreck is light on dialogue and heavy on impact.  26 year old Morgan Knibbe‘s moving film is shot through the perspective of one of the 155 survivors of the well publicised ship-wreck that was carrying 500 Eritrean refugees that sank off the cost of the Italian island Lampedusa, 3 October 2013.  The viewer is presented a world of disperse, chaos and loss as the remaining survivors and the local police are forced to deal with the aftermath of the tragic voyage.

 

Listen (2014: Denmark, Finland and Colombia – 13min)

listenListen is a painfully realistic lesson in understanding the difficulties of migrants who cannot communicate in the primary language of their new resident nation.  Somewhat reminiscent of Alejandro González Iñárritu and Guillermo Arriaga‘s tragic film Bable, Listen tells the story of a Musilm woman seeking Police protection from her abusive husband against the wishes of her intentionally  misleading Muslim translator and her teenage son.  Change for this woman is shown as nearly impossible against such cultural inertia and language barriers.

 

A few seconds (2014: France – 16min)

A_Few_SecondsNora el Hourch‘s film tells the story of a small rough-edged band of young women in France that are coming of age amidst passively and actively abusive men.  With plenty of humour, and plenty of shock A few seconds shows the importance of community and friendship when coping with life away from the support of family.

 

Everything will be OK (2015: Germany and Austria – 30min)

everything will be okPatrick Vollrath’s ‘short’ film tells the story of a desperate father seeking to kidnap his child out of his loneliness, despair and anger at his current custody arrangement.  Tastefully shot, Everything will be OK, allows the audience to simultaneously sympathise with the father while understanding the suffering of a poor child caught in the middle of parents’ fighting and broken relationships.  In the final moving scenes the daughter seems to behave more like an adult than her Dad while literally being pried from his arms.

 

Ave Maria (2015: Palestine, France and Germany – 15min)ave maria

A start contrast to the other four shorts – it is clear that the program directors had learned from last year, the importance of allowing the audience to leave the cinema smiling as well as being shockingly moved.  Ave Maria is a quirky tale of a handful of Nuns and Jews that are forced to help each other in the West Bank under the most unlikely of circumstances.  Making light of some Jewish and Catholic cultural traditions and stereotypes, Ave Maria seems to ironically elucidate the similarities between different religious and cultural groups by forcing the audience to somewhat laugh at the small and large things that makes some communities appear different.

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Helvetica

Helvetica_font_inspiration_by_RuiRaposo

I’m obviously a typeomaniac, which is an incurable if not mortal disease. I can’t explain it. I just love, I just like looking at type. I just get a total kick out of it: they are my friends. Other people look at bottles of wine or whatever, or, you know, girls’ bottoms. I get kicks out of looking at type. It’s a little worrying, I admit, but it’s a very nerdish thing to do.

Erik SpiekermannHelvetica

Who would have thought that a documentary about a font would be so engaging?   But in an age where the message is less important than the image, it makes sense we should care about how we write our sweet nothings.

Helvetica-film

This film length doco by Garry Hustwit opens our eyes to the subtle world of graphic design through the case study of Helvetica.  Educating the audience on what differentiates one type-face from another, it slowly unveils a new way of looking at the world around us.  We discover that Helvetica is ubiquitous – appearing on magazines; signs; web-pages; billboards; logos; to fast food wrapping.

Helvetica, we learn, was loved and loved to death by designers in the years after its popular release   It is even described as a ‘perfect font’, where any changes to it are only detrimental.  Apparently Apple bought the rights to use Helvetica on their early printers and computers while Microsoft chose not to pay the rights, and instead had another font – Arial – designed as a copy; where minor angles and spacings were altered to avoid copyright – but resulted in a ‘lesser font’.  And hence, Arial, has become a bit of a ‘dirty’ font in the design community.

Perhaps this is all not too dis-similar from the old joke, “Times New Roman, Arial and Palentino walk into a bar and ask for a drink.  The bar keeper says – ‘Sorry, we don’t serve your type here.’ “

Being used as a default font on many Apples products, Helvetica’s use became prolific.  So much so, that during the grunge movement of the 90s, many designers rejected the Swiss Modernist font for more messy abstract typography and wording arrangements – now made possible through the advent of the computer.  A few years ago you were ‘hot stuff’ if you could casually drop the words “I prefer a sans serif font” in conversation.   But now, the discussion has moved far beyond that to raging online forums between fans of different fonts professing more neutrality, or conversely, emotion.

For weeks after seeing the film, I became mildly obsessed in trying to discern between different fonts on signs, posters and nasty blogs, where you have to pay extra for the freedom to use certain typefaces – a la, this one!  It is fascinating to learn how many organsiations use Helvetica.  The company I work for has an official ‘Style Guide’ that all documents have to adhere to.  This requires the use of only pre-specified fonts, colours, and demands two spaces between sentences – to assist the ease of reading.

Pick-A-Bad-Photo-Apply-A-Vintage-Effect-And-Use-Helvetica

Because we spend too much time in front of screens we have become somewhat obsessive about the minor details.  I believe that because modern life is so hectic and because we ‘undergo information’ overload daily, that we have really do appreciate clear, simple design.  Just consider the popularity of the white spaced Google home page compared to the Yahoo hyperlink/underlined/italicized everything overload.  Moreover, consider the shear appeal of sleek Apple products.  However we have been spoon-fed to believe that clean design and simple fonts are the best – partly because of Apple brilliantly marketing its products. 

Sepia tones and Instagram effects are a natural response to the overly slick design elements that we see in our everyday life.  People try to reject the ‘point and shoot’ camera where both the foreground and the background are in focus; people are choosing to wash their high resolution image with a particular effect – emulating the imperfections of previous technology such as over exposure –  to make their images feel more authentic.  And less commercial / squeaky clean.  (I wonder whether the orange date-stamp will ever come back in?)

It is as if we are caught between two extremes: on one hand the simplicity and clarity of sleek, clear design – including Helveitca and sans serif fonts; and, on the other hand, the warmth of and genuine nature of imperfection, textured styles, and type characters with character.

As Garry Hustwit’s first installment of his Design Trilogy Helvetica stands as his finest piece.  Objectified – his second film looks at industrial design; and Urbanized, his third, focuses on Architecture.  Both are engaging but lack the intrigue of his opener –  a must watch for anybody who uses a computer or reads – basically, just see it.

Typography is the new calligraphy.  So sorry Mum, but a ClipArt picture of a stick man and a light bulb teamed up with a rainbow coloured heading from WordArt no longer cut it.

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Bill Cunningham New York

Image

The best fashion show is definitely on the street – always has been and always will be.

Bill Cunningham

How excited about fashion can a twenty-something Australian engineer get about street fashion in New York when friends mine say to me, “You dress so poor!” – and not in an ironic sort of way?

However, I recently watched Richard Press‘ delightful documentary – Bill Cunningham New York – after a tip from a menopausal middle-manager came good.

Perhaps because the doco is only partly about fashion, or perhaps it is not about fashion at all.  Nevertheless, the film follows octogenarian street fashion photograph Bill Cunningham around the sidewalks of New York, to the high-society parties for the (oh so) rich and famous, to the catwalks of Paris – where Bill shoots for the New York Times.

Bill waits on street corners “It’s always the hope that you’ll see some marvelous exotic bird of paradise, meaning a very elegant stunning woman or someone wearing something terrific” and then it may be some shoes, or a hat, or matching pairs – but he quick snaps his manual film camera and he’s captured it – a moment, an image!  Probably only because of his age, and trademark blue jacket he doesn’t get assaulted for taking snaps without permission.  But the fashionistas seem to relish the attention lauding the praise of his eyes.

Bill shooting on bike

Just a regular day at the office

Saying things like: “I don’t know how to work, I only know how to have fun everyday”; and “If we all went out looking like a slob like me, it would be a pretty dreary world” – it is hard not to like Bill.  Energetic, honest, excitable, gifted and level headed, his passion for beauty is engaging.  Unlike other pretentious artists, Bill seems to enjoy his simple bike, blue cardigan and his humble, pokey little apartment – sleeping on the floor next to filing-case after filing case filled with a lifetimes’ worth of film.

Press shoots the film with both an energy and an honesty.  Alternating between shots of Bill at work; shots of Bill’s work; and interviews from upper crust celebrities including flamboyant author and socialite Tom Wolfe.

However one particular scene is unique – Bill is asked two questions – one about his personal relationships; and the other about religion.  Attending church every week, Bill is perhaps much like many of the older US generation, and yet it is the only time in the rollicking 83 minutes of footage that he is lost for words.  Struggling, after a substantial pause, and looking away from the camera, “It is something I need”.  Bill gives the impression that he values his Catholic faith in a deep and personal way; and yet, humbly does not want this to distance him from his friends and colleagues – from progressive NYers that may not hold such regard for Christianity.  A man of opposites, Bill straddles the fence – mingling with the Bold and the Beautiful, while not being seduced to compromise his beautiful spirit and love for the NY – “It’s hard to play a straight game in this city”.

In my workplace where us engineers ironically look more similar on casual Fridays than weekdays when the good old’e check shirts come out. Yet, I now feel somewhat inspired to be a little bit more flamboyant with my ‘fashion’, as Bill quips near the end of the film – “Lots of people have taste; but few have enough courage”.

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