Welcome to Eureka Street
Looking for thought provoking articles?Subscribe to Eureka Street and join the conversation.
Passwords must be at least 8 characters, contain upper and lower case letters, and a numeric value.
Eureka Street uses the Stripe payment gateway to process payments. The terms and conditions upon which Stripe processes payments and their privacy policy are available here.
Please note: The 40-day free-trial subscription is a limited time offer and expires 31/3/24. Subscribers will have 40 days of free access to Eureka Street content from the date they subscribe. You can cancel your subscription within that 40-day period without charge. After the 40-day free trial subscription period is over, you will be debited the $90 annual subscription amount. Our terms and conditions of membership still apply.
There are more than 200 results, only the first 200 are displayed here.
Tully is a funny film, with a serious core: a tribute to the labour of child rearing, a dissection of the substantial physical and emotional burden of this work, and a 'show-don't-tell' critique of the social norms that frequently sees that burden fall, still, primarily on women.
The boys conquer one hazardous feat after another: entering the ocean via rocky cauldrons; sharing waters with a mythic giant shark; tackling waves that rear up over a deadly shallow reef. In so doing they confront their fears: of physical peril; of failing, or failing to meet the expectations of the group; of existential ordinariness.
A grim and gripping tragedy on this personal level, as a whole Loveless functions also as a metaphor for political life in contemporary Russia. The fatal fracturing of its relationship with its neighbour Ukraine provides a backdrop and, for the degeneration of Zhengya and Boris' marriage and the resultant alienation of their son, a touchstone.
The commentary around the film's appropriation of Japanese culture has been sustained and substantial. At least these allusions are for the most part detailed and respectful; that the hero is named after a defunct American video game company is less palatable. Trickier still are the creative decisions related to language.
For gay teens and those who known them, the film is vitally affirming. But there's baggage that comes with its treatment of these themes that undercuts its efforts to engage the experience of alternative sexual orientation. Simon may be gay, but he is also explicitly a privileged white man.
We know how this is going to turn out historically: the 1971 referendum is successful. There is a certain quaintness to the film that makes it feel off the pace of the current conversation around women's rights. But there is an engaging frankness to its attention to the sexual liberative dimension of women's self-agency.
The Bechdel test, which deems there must be two named female characters who talk to each other about something other than men, has become shorthand for gauging gender imbalance in films. But it isn't always a good test. If you take the rules literally, Suicide Squad, which is aggressively misogynistic, passes on a technicality.
Kane insists God doesn't make mistakes: 'That's what makes him God.' Lena retorts with reference to the Hayflick limit — the naturally occurring limit on the number of times cells can divide. Never mind cancer; the very fact of ageing, she says, comes down to a flaw in our DNA. It's a telling scene, pointing to a scientifically enlightened humanity at odds with its own physiology.
'Two men struggle against a determined emperor and the frailties of the human spirit in order to live out the Gospel and spread their message to the world.' Eureka Street has ten double in-season passes to give away to Paul, Apostle of Christ. Click below for details.
Last year Brooklyn Museum exhibited radical 20th century works by American women of colour alongside The Dinner Party, a 1970s Second Wave feminist piece noted for its white, middle-class preoccupations. The resonance of this pairing illuminates the plight of Christian, hero of the Swedish art-world farce The Square.
Is it any wonder that when I came to work in the press gallery I was cynical about arts policy? In those lockup hours scouring budget papers it was clear yet again the arts would not see any wins. It wasn't always this way. Prime ministers and arts ministers of yesteryear produced arts policy informed by their personal and political interest.
While the female-led outcry continues, those men benefitting from the imbalance ought to question their privilege. Instead of carrying sympathetic white roses into the Oscars, they should use the opportunity to question their own complicity in accepting roles in movies where women are inadequately represented.
133-144 out of 200 results.