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New Zealand filmmaker Robertson’s latest feature has been described as a cross between modern antipodean classics Once Were Warriors and Shine. Like Warriors, Dark Horse considers masculinity, violence and spirituality in the lives of urban Maoris. Like Shine, it offers a moving portrait of a character whose mental illness appears to be the dark reflection of esoteric, obsessive genius.
'If we strapped a bunch of Men's Rights Advocates to beds and downloaded their nightmares, I don't think we'd come up with stuff half as ridiculous as this plot,' wrote one blogger. Dogged by charges of misogyny since the release of her novel (and now film) Gone Girl, Gillian Flynn nonetheless maintains her right to create interesting, complicated female villains.
Perhaps the trickiest relationship to show on-screen is the one between siblings, and it’s not just about finding actors who look alike. What The Skeleton Twins tries to tell audiences about damaged people is solid but uninspired: don’t deny your heart, you have to deal with your past rather than bury it… But it’s the chemistry between the two that makes this something special.
In The Maze Runner, a group of teenage boys find themselves dumped in the middle of a giant maze. Lacking the freedom to do what they like, faced with rules and laws that seem arbitrary while struggling with deep changes on a physical level, teenagers’ personal problems have proven to be ripe material for dystopian novels and films.
As with her previous films, Kelly Reichardt is interested in people moving through and reacting to their landscape. In Night Moves, the drama comes from the way the characters' reaction to their environment cuts them off from the world around them. This refusal to connect turns toxic.
While not everything always turns out for the best in Boyhood, the stakes aren't high in any traditional sense. Instead, time gains power from its sheer passage on the screen. For Mason, the central character, it is a liberation.
While we are all afraid of the unknown, complete certainty and predictability do not make for a vibrant life. Magic in the Moonlight is a film about the lens through which one chooses to see the world. Cynicism or wonder? Mayhem or magic? It poses the question: Which way brings more joy?
In Deepsea Challenge, James Cameron admits that, having desired it since he was a kid, his film Titanic was basically the excuse he needed to explore the depths of the ocean. The documentary feels like Cameron meets 'Make A Wish Foundation' with the audience acting as the benevolent donors.
As human beings we do all kinds of things to avoid suffering. Drink, drugs, hobbies, television, retail therapy. The list is endless. It is our job to survive and avoid suffering: to huddle around our loved ones, to live and thrive and not let the shit of life get us down. For Robin Williams, it seems avoiding suffering was a very hard task.
Broken and bruised by their respective journeys, Gretta and Dan seize the chance for solidarity. For both, their sense of compassion and resilience allows them to navigate a cold and indifferent New York City that threatens to swallow them whole. They use the creation of music as a mirror to reflect back a version of themselves – and NYC – that they can love.
Some years ago my then next-door neighbour attempted suicide. Had it not been for the fortuitous arrival of his teenage son, and the heroic actions of another neighbour, the incident would have had a tragic outcome. For an individual to die alone at home amid the crowd of suburbia is one of the sadder, and sadly common, scenarios of modern Western existence. Italian-born British filmmaker Pasolini explores this phenomenon in Still Life.
Ben and Tas Pappas, from Melbourne’s working-class north, take the skating world by storm in the 1990s. This film doesn’t skimp on the drugs-and-sex-addled reality in which they found themselves, fuelled by massive sponsorship dollars and the anarchic skating culture. But this is not the film's greatest tragedy.
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