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There are more than 200 results, only the first 200 are displayed here.
For Father Bob, being a priest entails getting his hands dirty, giving everything of himself, and doing what he thinks is right, even if doing so upsets power structures; especially if it upsets power structures, if they have contributed to the plight of the downtrodden. (From 2013)
More Human Than Human's exploration of the history and present reality of artificial intelligence is not a tale of terror. It is a thoughtful and nuanced engagement with the people who are making, using, or thinking about AI; those who have been touched by its life-changing potential, or come a-cropper of its more sinister aspects.
The cast of mostly unknowns is multiracial and spans the spectrum of sexual orientations and gender identities. Not long ago that might have seemed transgressive, but these days it seems like the least that could be hoped for from a piece of mainstream entertainment.
Some creative choices see Bohemian Rhapsody veer from fairytale to fake news. Displacing 'Fat Bottomed Girls' allows the filmmakers to write out the exploitative publicity stunt for that song. By skipping The Works tour, they can conveniently ignore how the band flouted the UN's cultural boycott against apartheid era South Africa.
Julianne Nguyen turns a smartphone, webcam and head-mounted go-pro to the purposes of self-examination. A child of Vietnamese parents but born in Australia, she practises Christianity and Buddhism, and is trying to parse these various elements. 'I'm Australian. I feel Vietnamese,' she says, then chants: 'West. East. No, West. No, East.'
Hannah Gadsby's Nanette critiques comedy as an imperfect tool for processing and transcending trauma. Funny Cow, about a woman comedian in 1970s northern England, attempts something similar. Both say something about the intersection of comedy and trauma and what it reveals about how we relate to each other as human beings.
This sleight of hand from Albert sets a pattern, as the two go on to collude on an elaborate ruse, selling Edouard's designs for patriotic memorials that they never intend to build. Edouard, having plumbed the depths of opiate addiction, comes alive in the scam, a puckish schemer in a series of elaborate papier-mâché masks.
'In the Beginning Was the Word' opens with Angelina D'Costa, 'five years to the day after she stopped being a Catholic', entering a church, determined to confront a popular priest who is known to have covered up for another priest who abused children; only to be moved to submission by the familiar beauty of the Mass.
Film buffs might regret there's not a more detailed technical breakdown of Bilcock's craft. Still it it is a warm-hearted tribute to the art of editing, the process by which a film takes its final form, often as different from what was shot as the footage isfrom the original script; and to one editor whose sense of character and audience is hailed by these directors as defining their films.
My Friend Dahmer, based on the memoir by John Backderf about his teenage friendship with the soon-to-be killer, is a complex character study of which Dahmer's troubled home life, repressed homosexuality, abuse of alcohol, and experiences of bullying and social alienation are motley features rather than defining characteristics.
With the downfall of white society, Thoomi and other Aboriginal people have abandoned their white-established communities, to return to the land. Through embracing ancient communal practices, they are proving far more resilient than their white counterparts. It is through them that Andy may ultimately discover the key to survival.
The pressure starts to get to Annie when she begins to suspect her mother is haunting her. This exacerbates pre-existing tensions; her husband is caring in a mildly condescending way, but is more concerned with the wellbeing of their children. Is the haunting real, then, or just a symptom of Annie's reluctance to let go?
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