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The film's quiet humour leaves open many spaces for reflection on getting older, and on mortality. Tomas is uncomfortable with the subject of death, but Julian is determined to confront it with honesty and dignity. His activities during those four short days reveal he possesses a well formed conception of his own humanity and mortality that is not short of admirable. We are as sympathetic to Paula raging against her cousin's resignation, as we are to Tomas' growing acceptance.
There's a bagel character, coded as Jewish, and a lavash (Armenian flatbread), coded as Palestinian, who clash because they have to share an aisle. 'Isn't the aisle big enough for both of you?' asks Frank. In this and other ways the film points to the destructive power of religious belief corrupted by self- or socio-political interest. On the other hand it ignores the role religion can play in developing robust ethical thinking about the ways in which we can interact meaningfully with others and the world.
The OIC makes a dramatic speech about the integrity of live ballot papers, that there will be no repeat of the Western Australian kerfuffle, that we have our booklets that contain all the answers (and many typos, too). He seems nice. Maybe a little skittish. Not someone I'd imagine would be hired to run an office or manage a kitchen or even wait tables, but he must know what he's doing. This speech is the last demonstration of authority I witness on this day.
People understand that some of the solutions for the problems faced by current and coming generations are likely rooted in decisions made now. Future-proofing is not merely anticipation, but intervention on a scale that goes beyond households. It involves design and culture. It demands an international rather than insular outlook. Perhaps this is why gallows humour has seeped into my conversations about the future. I no longer expect our leaders to do something worthwhile about it.
As is the time-honoured tradition of Hollywood PIs, Holland has long bound the wounds of some unresolved grief in alcohol and cynicism. Notwithstanding individual tastes that are by no means aligned with gender, this is the kind of movie that can tend to appeal to puerile male interests while diminishing respect for women. In this regard Shane Black, a mainstream filmmaker who is more self-aware than most, tries to have his cake and eat it too, by both drawing and subverting the objectifying male gaze.
Socialite and amateur operatic soprano Marguerite cuts an intriguing and tragic figure, devoted to her craft but oblivious to her lack of talent. Yet the joy she gains from believing she is a great singer doesn't depend on the reality or otherwise of that belief. Is it right or wrong for those who care for her to allow her to continue in her delusion? The question echoes the concept of a life-lie, invoked by Henrik Ibsen to argue that human beings are sometimes better off living in at least partial ignorance of reality.
The school has been supportive, but in this data driven age even the finest teachers are compelled to teach to the vile Naplan tests. Dyslexic kids are put through unbelievable stress with these tests. If deaf kids were compelled to do listening examinations, there would be an outcry. I'm not sure if there's a difference. I'm also not sure if the ever narrowing scope of education can still accommodate students like my son, despite all the talk about diversity and differentiated learning.
When a remote valley in the north of Iceland is struck by an outbreak of scrapie - a fatal, degenerative disease that affects sheep - Gummi, Kiddi and their farmer neighbours must face the prospect of conducting a mass slaughter. This is very much a communal crisis, and a consideration of the socioeconomic hardships of traditional Icelandic sheep farmers in modern times. But it's also a teasing-out on the personal level of Gummi and Kiddi's emotional and practical responses to this turn of events.
When Alan Alda was 11, he threw a simple inquiry to his teacher. What's a flame? The response he received was less than satisfying. 'All I heard from the teacher was "it's oxidation". That didn't explain anything to me.' It's a neat illustration of a modern problem. Merely presenting over-simplified factoids is no longer sufficient in a world filled with phenomena like climate denial and the anti-vaccination lobby. For science to be communicated effectively, it needs to spark passion and excitement.
It was a bright winter's day when we visited Iphigenia. Long widowed, she was meticulously turned out in black traditional outfit. Iphigenia is not sure how old she is; she thinks she is 86. Anglophones regularly make a hash of this beautiful name, the correct pronunciation of which is Ifeeyainya. But the ones I know are intrigued by the mythological character, who was ill-fated, to say the least. I soon learned that there had also been ample sorrow and trauma in the life of the modern Iphigenia, too.
'On his last two visits to Latin America, Pope Francis has focused on past and present relationships between indigenous peoples and their colonisers. This Jubilee Year of Mercy perhaps it could be a blessed moment for Aboriginal Australians and descendants of their colonisers to walk together through the Door of Mercy at the St Francis Xavier Cathedral, calling to mind the sins and endeavours of the past, the achievements and commitments of the present, and the hopes and aspirations of the future.' Fr Frank Brennan SJ, Lenten Talk, Norwood Parish, 3 March 2016
Who better to consult than Dr Hippocrates and his humours? Before Tony Abbott's deposition the choleric element dominated in Australia, full of sound and fury. This has been followed by the preponderance of the sanguine humour, expressing itself in that sunny optimism that makes light of problems. But more recent events suggest that the humours are again in chronic imbalance. The core weakness in the Australian constitution has not been removed with the accession of Malcolm Turnbull.
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