never again as before ( italian : mai + come prima ) is a 2005 italian coming of age drama film produced , written and directed by giacomo campiotti .

the film was nominated for the david of the youth at the 2006 david di donatello awards , while the theme song " warriors of light/sei o non sei dei " was nominated for silver ribbon for best song .

never again as before

booktopia - never before , never again by larry writer , 9780994500816 . buy this book online .
never before , never again
running thursday - sunday , january 25 - 28 , 2018 .
so how , then , was never say never again made ? the backstory is as complicated as a bond film’s plot .
never , never before . never , never again . you walked right in . you wore a grin . you caught my eye and reeled it in . you made my head spin , and it ' s never stopped never , never before . never , never again . i was your clown . i was your dog . it ' s too bad it had to end . and though it did , it sure was fun . my love for you will outlast the sun . never , never before . never , never again . you were an angel from paradise , but every artist has has vice it may be true , but it ain ' t nice : behind ever sad man there ' s a great woman . never , never before . ne
the eventual result of all of that legalese ? never say never again , essentially a thunderball remake that officially sits outside of the james bond canon .
two people who have pledged never to fall in love again then discover each other in a gay bar .
never before have two souls joined so freely , and so fast . for me this is the first time , and the last . is this an angel ' s wish for men ? never before and never again . and where to find the words to sing it ' s worth , this love was bound for heaven , not for earth . this love was meant to light the stars , but when we touched , we made it ours . and could they take it back ? oh , no , they wouldn ' t dare ! why should they take it back , when there ' s enough to share with all the world , and fill the heavens above , with left - over love ? never before , a love that just keeps growing on and on , to fill each lover ' s heart and light the dawn . is this an angel ' s wish for men ? never before and never again . never before and never again .
the behind - the - scenes story of “never say never again” is nearly as good as any bond movie , and i hope one day someone makes a movie about it . on the surface , it hinges on the question of authorship and deals with the fact that before eon productions had made a single 007 movie , novelist ian fleming [ … ]
we celebrate the moment of invention as it explodes from the unknown with a cadre of expert improvisors ! featuring artists who regularly harness the ephemeral , in work never before seen , and never to be seen again beyond this one presentation . we invite you to share the power of immediate presence in performance - through dance , butoh , action theater and more !
nbna celebrates the moment of invention as it explodes from the unknown with a cadre of expert improvisors ! featuring artists who regularly harness the ephemeral , in work never before seen and never to be seen again beyond this one presentation . we invite you to share the power of immediate presence in performance - through dance , comedy , butoh , music , theater , and more .
never say never again is a james bond film that stars sean connery as james bond , a british mi6 agent with the designation 007 who dashes across the globe in a thrilling and seemingly never ending quest to save civilization from the craven schemes of supervillains bent on creating chaos , all the while enjoying dry martinis , bedding women of innumerable national origin , and sporting sharply tailed suits and tuxes .
this is an edited extract from a new edition of never before , never again : the story of st george’s 11 - straight premierships , 1956 - 66 ( stoke hill press ) . first published in 1995 , the new edition coincides with the 50th anniversary of st george’s 1966 premiership , the last of its 11 11 - straight run of titles .
the behind - the - scenes story of “ never say never again ” is nearly as good as any bond movie , and i hope one day someone makes a movie about it . on the surface , it hinges on the question of authorship and deals with the fact that before eon productions had made a single 007 movie , novelist ian fleming collaborated with producers ivar bryce and kevin mcclory on a story about stolen nuclear warheads and a massive extortion scheme that he later spun into the novel “thunderball . ”
that’s because never say never again was not produced by eon productions , the cubby broccoli - sired studio that’s delivered the vast majority of the bond films you know and love—the result of a long - running agreement with bond creator ian fleming ( and subsequently fleming’s estate ) .
ultimately , never say never again is an anomaly , enjoyable and star - studded , but barred from official bond - dom , fated to forever live in 007 limbo . ( it also is expiring from netflix on february 1 , so watch it while you can ! )
experiencing reality with the great richard is happy to produce and perform his first fully improvisational piece in the never before never again festival .
urpiece
is a democratic re - imagining of concert dance where the audience works as a group to control the flow and tone through beginning , middle , and end . literally throw caution to the wind with this raucous performance piece ; weaving together dance , poetry , stand - up , therapy , crafting , rock and roll , and much more ( or less ) . ( photo by michelle v lim photography )
but of course , it is a bond film . and it stars sean connery , who had vowed to ‘never again’ play agent 007 following the 1971 release of the tepidly received diamonds are forever . mcclory , however , cunningly had included connery as a consultant from the project’s beginnings , and was eventually able to lure connery into the starring role .
giacomo campiotti , who recently helmed the english - lingo miniseries “doctor zhivago” with keira knightley , shows he knows how to climb emotional heights in “never again like before . ” a gripping coming - of - ager about four boys and two girls who’ve just graduated from high school , this italian - language mountain drama , with a cast of unknowns , sports a wholesomeness and uplifting [ … ]
shipped quick . . . packaged great . . . just as described . . . thanks ! ! !
giacomo campiotti , who recently helmed the english - lingo miniseries
doctor zhivago
with keira knightley , shows he knows how to climb emotional heights in
never again like before .
a gripping coming - of - ager about four boys and two girls who ' ve just graduated from high school , this italian - language mountain drama sports a wholesomeness geared more to family auds than the jaded young .
mcclory was successful in a subsequent copyright claim , and received two key items : production credit on the eon film adaptation of thunderball , as well as the right to produce a different film of the story once ten years had elapsed .
family background of each is rapidly sketched , with noteworthy actors in supporting roles as parents . story then plunges deeper into their characters as they all end up taking a train to the dolomites , where they pitch camp in a remote cabin .
it is the story of a group of eighteen year olds whose vacation in the wilderness will provide the chance for them to grow , as individuals and as a group , their teacher on life are the mountains . after high school graduation , all of them , including a sensitive and foolhardy handicapped boy , will leave for a trekking adventure in the mountains . here , in the middle of this beautiful but also harsh and rugged nature , is where the boys will begin taking responsibility for themselves as well as for others , they will start making decisions and not bend in front of the difficulties they will encounter . it will be the mountains that will make them change and help them grow : when they return to the city , they will not be the same as before .
the key player was producer kevin mcclory , who developed the plot for what was to become thunderball with fleming as well as writer jack whittingham . the story was abandoned , but then novelized by fleming , with no credit given to mcclory or whittingham .
i never thought that schools like lsu and alabama would integrate ,
he can admit , aware that great performances by black athletes competing at those schools played a big part in their integration . yet , amidst the upheavals of the ' 60s , he also knew that doing his job wasn ' t just about coaching football . he learned to harness that anger at the criticism hurled his way from more militant quarters :
i wasn ' t going to go out and hurt somebody or let one of my own get hurt to disprove that i was an uncle tom .
robinson proved his talents year in and year out , winning not just games and championships , but respect and admiration . he also helped change the face of his game in college and beyond , sending more than 200 players to the nfl , including super bowl mvp doug williams . the candor of never before , never again is as refreshing as it is revealing ; the story itself is pure inspiration . - - jeff silverman
endorsed by espn betting journalist , david purdum . rudnitsky lost $ 10 , 000 betting like a fan . . . before learning the secrets of how to win like a pro .
it should be said that kershner and “indiana jones” d . p . douglas slocombe share the most stylish vision the character had seen to date . the plot , which plays awfully close to the outline for “thunderball , ” may be familiar ( but then , isn’t that true of every bond movie ? ) , but “never” serves up a great cast , including kim basinger as the most beautiful bond girl of all time , domino ; klaus maria brandauer as largo , whose villainy is matched only by his insecure jealousy ; and max von sydow making a brief appearance as blofeld , complete with trademark white cat .
giacomo campiotti , who recently helmed the english - lingo miniseries “doctor zhivago” with keira knightley , shows he knows how to climb emotional heights in “never again like before . ” a gripping coming - of - ager about four boys and two girls who’ve just graduated from high school , this italian - language mountain drama , with a cast of unknowns , sports a wholesomeness and uplifting message geared more to family auds than the jaded young . though overlooked on local release in mid - november , it has an unusual depth that could work better offshore , certainly for fests and tv .
that said , connery is , as always , endlessly charming ; the villainous one two - punch of max von sydow and klaus maria brandauer ( as spectre agents blofeld and maximillian largo , respectively ) is fabulously sinister with just the right touch of camp ; and kim basinger’s character is compelling and gorgeous , if a bit underdeveloped .
the entire scenario may have been preposterous , but screenwriter lorenzo semple jr . ( credited alongside dick clement and ian la frenais ) chose to ground the character in reality . long before christopher nolan made the decision to treat batman “realistically” on the “dark knight” pictures , semple wrote bond as a scarred and aging action hero coping with the physical wear and tear that a career of saving the world entails .
it also provides a fascinating alternative to the eon bond films , which at the time were in the heart of the roger moore era . perhaps it’s connery’s swagger , but never say never again is very much a 60s film that happens to take place in 1983 . at times , the cinematography produces a lush , classic connery - era aesthetic . at other times , the combination of underwhelming 80s vehicles , dated hairstyles , and stilted dialogue is more reminiscent of contemporary tv shows the a - team and magnum , p . i . than 007 classics like goldfinger or , yes , thunderball .
neither of these words fully capture how great eddie robinson is . . . as a coach , father , or american . he is such a great role model for everyone .
but , like nearly everything in both hollywood and the fictional world of 007 , it’s really about money . eon turned james bond into the most successful franchise of all time , and mcclory wanted a piece of it . after “diamonds are forever , ” sean connery publicly swore he would “never again” play bond , but behind the scenes , he was evidently saying , ” if you pay me enough . ”
foliage
is a duet comprised of multiple improvised scores . each score was derived from physical responses to anxiety ; uneven breath , shaking , and muscle tension . the dancers navigate these scores with deep attention to each other as well as the space they are dancing in .
foliage
is an evolution of nicole’s previous work ,
badgrass
.
of course , mcclory had it easy , effectively copying the eon formula in nearly all significant respects . minor details , like maurice binder’s trademark gun - barrel / sexy - silhouette opening sequences or the fact that q is referred to as “algernon” during gadget - outfitting sessions , “never” did without , but the format otherwise stuck relatively close to the model established over 13 previous eon outings .
a true story of a young girl who was sold as a sex slave . the book is a rare look inside the world of sex trafficking and into the soul of the abused .
“if you wanted someone to look up to , to be inspired by , you never had to look past that team . if you were someone like me , a weed who couldn’t run out of sight without getting a wheeze and who was never going to achieve anything on a football field , supporting saints was the stuff that dreams were made of . we had it all over kids from other districts , because we had the saints .
something not altogether different had happened once before with the rights to “casino royale , ” but when the producers of that film failed to convince connery , they spun the project off into the precarious realm of satire – tricky , considering how closely the 007 character treads the line of self - spoofery already . but mcclory got connery , and audiences in turn got a very rare treat indeed : a chance to see what a non - eon 007 movie might look like , as directed by “the empire strikes back’s” irwin kershner .
never again is a romantic comedy about falling in love despite your better judgment . an exterminator and jazz pianist in the noble model of gary cooper and other ' 40 ' s screen legends , christopher is having a sexual identity crisis . he hasn ' t been able to perform with the young women he ' s been dating , and is looking for sexual inspiration . grace , an administrator for mentors of new york , sends her final child off to college and then realizes that she hasn ' t tended to her own needs in a very long time . when christopher meets grace at a gay bar , her best friends admonish her that it ' s not a good idea to start a heterosexual relationship with a man you meet in a gay bar . through human insecurities and foibles , and the refreshing reminder that the boomer generation is still very much sexually viable , christopher and grace defy the odds of it never happening again . in a real , meaningful and adult fashion , they fall in love .
i finished this book nine years ago , but i can still recall how well put together this book was . reading this book made you want to go to a grambling football game as well as meet eddie robinson and his wife . i finished this book sixth months after robinson passed away . so it was a forgone conclusion that no matter how much i wanted to meet him after reading this book , it was not going to happen . there will never be another eddie robinson at grambling in my lifetime or many other lifetimes . he was super old school but he was able to adapt and put with every generation he coached at grambling . rest in peace mr . eddie robinson ( 1919 - 2007 ) .
tech work is unobtrusive and always in service of the story . duccio cimatti’s camera lets the scenery take center stage in crisp bright colors , which turn dark and menacing as the drama develops . editing concisely packs in a great deal .
we build a world . we have a place to start and no other requirements . the performance will express our continued improvisational experimentation . it will explore the relationships that can be instinctively created between light , movement , set , and sound . the work invites viewer and performer to engage in a unique , performance - specific experience that will never happen in quite the same way again . it invites us to eliminate the tight grip of expectation and replace it with freedom , risk , and communication . see you on the other side . . . ( photo by sam polcer )
but the most important bit of casting , of course , was connery , and “never” drives home what a superior bond he was . though 52 at the time of filming , he was almost three years younger than roger moore and appeared tougher than he had in any of the previous adventures .
connery had already come back once before for “diamonds , ” and his salary on that film – £1 . 25 million plus a share of the profits that brought his total to an estimated $ 6 million – made him the highest paid actor of his time… until mcclory and his team came calling to make an off - canon bond movie based on the idea fleming had borrowed to make “thunderball” ( reportedly offering $ 5 million and points ) .
“as it happened , the bloke who got chook had also been taunting pop all game , calling him an old man because of his baldness . so pop shook the cobwebs out of chook’s head and they came up with a plan to get square . ‘listen to me , ’ clay said . ‘what i want you to do is run up too fast on this bastard , leave a nice big gap that he won’t be able to resist running into , and when he does , i’ll be waiting for him . ’ chook left the gap , the bloke fell for the trick and poppa cleaned him up something shocking , as only poppa could do . as the fellow was carried off on a stretcher , pop grinned at him and said , ‘not bad for an old man , eh ? ’ chook said he would have killed for brian clay after that . quite literally , killed for him . those men had a phenomenal ability to stick together . ”
in
truss
, performer emily climer exposes the extremes of acting as both the director and the one being directed in an improvised dance . by heightening attention to these two states , she attempts to offer a glimpse into the simultaneous agency and vulnerability of the improvising body . ( photo by maria baranova - suzuki )
as evidenced in his warm feature debut “like two crocodiles , ” campiotti has absorbed a canny blend of american and euro filmmaking styles . here the human drama is set amid picture - perfect italian scenery and carefully built to white - knuckle tension . after an emotional pay - off , the story eases back to a thoughtful conclusion .
o be a member of the red - and - white legion in the golden years was a special thing . as one such fan , this writer can report that we counted on our team to win every time they played , and rarely were we disappointed . while it is true we never enjoyed the elation experienced by followers of an underdog side that flukes a victory against expectations , not one of us would have swapped places with fans of another team . and if we were subjected to vitriolic abuse when we travelled to away games at cumberland oval or belmore oval or pratten park , because rival fans despised us for being the tallest of poppies , well , that was a price we gladly paid .
the st george district was a diverse one , with locales ranging from salubrious suburbs such as blakehurst , kyle bay and gymea to working - class tempe , allawah and kogarah ; the fans came from many walks of life . among those who attended saints’ fixtures at kogarah , the scg or other clubs’ suburban ovals were tv star chuck faulkner , labor senator doug mcclelland , future liberal prime minister john howard , and the shaven - headed neo - nazi ross ‘the skull’ may . in 1964 , graham richardson , who became one of australian politics’ most powerful men , was a skinny , asthmatic kogarah kid . “if you grew up in kogarah in the 50s and 60s , you followed st george , ” the man known as richo remembers .
gasnier , running gloriously , crossed for three of them . for one man in a striped shirt near me , the excitement — or , if he was a newtown fan , the embarrassment — was all too much and he slumped from his seat . the attention of a st john ambulance zambuck , sitting on his wooden box of medical supplies on the sideline , had to be attracted and he revived the fallen fan . the moment the full - time whistle blew , as was my and my mates’ kogarah custom , we invaded the field , heading first to try to grab one of the four black - and - white striped cardboard corner posts , then , thwarted as usual by faster kids , we swamped our heroes , autograph books and biros extended .
an interactive - performance - experiment writes a love letter to an insta - tweet - chat and patrick ferreri / indecisiveproductions bring you their latest work ,
qualified context
. combining text and movement with audience subversion and more surprises than anyone intended , you sing , laugh , dance , and re - learn a thing or two as they hide from reality in plain sight . ( photo by joseph shelley )
jonah udall musicians and dancers present
improvisation
, an investigation of the singular language of movement and sound . the piece explores how time - based art both emerges as a product of physical space , and reciprocally transforms the space it occupies . the audience and performers line the perimeter of the stage , forming an intimate container in which music and dance blur the lines that separate them . ( photo by kenneth jimenez )
similarly , the kids deliberately hover between stereotypes and more complex characters in the ensemble work . dark - eyed casu brings out the mythic edge in dreamy enrico , who turns out to have an almost supernatural bond with nature . cipolla is refreshingly ironic , but also touching , as the handicapped max , who demands to be treated normally . also notable is piatti’s good girl , martina , whose inner strength grows throughout the film .
in the past months , saints had played regularly at the cricket ground , and i had watched them from on high in the noble or sheridan stands , but this afternoon – from my seat just metres from the field – i was struck by the sounds of the contest . the grunts of collision , the expelling of huge whooshes of air when a man was tackled , the chatter of the players – “with you , gaz” … “hang onto it , chook” … “good tackle ! ”… “get ’em onside , sir . ” but above all , i was startled by the thundering , the pounding , of the galloping st george backs’ boots on the turf as they spread the ball , backed up and ran in try after try .
journalist peter muszkat , who covered st george in their premiership years , remembers the st george district – from tempe down to sutherland – as being a particularly proud one , and he ascribes this pride to the fact that the people were represented by a winning football team whose members were the fans’ neighbours . “people could touch them , speak to them . it’s different today , when players keep swapping clubs and the concept of district loyalty is a thing of the past . also , back then there was tradition and stability in the club uniform . the white shorts and jumper with the big red v and the dragon crest was recognised everywhere . now , thanks to greedy marketing men , clubs change jersey designs regularly so the kids have to keep buying the updated model . ”
with : with : marco casu , marco velluti , natalia piatti , nicola cipolla , laura chiatti , federico battilocchio , pino quartullo , lidia broccolino , francesco salvi , mariella valentini , fabio sartor .
co - scripted with russian writer - director alexandre adabachian , story opens conventionally with final exams , where a lot of ingenious cheating between the students is used to reveal character and relationships .
enrico ( marco casu ) and lorenzo ( marco velluti ) exchange notes when wheeling their unwilling friend max ( nicola cipolla ) , a spastic with cerebral palsy , to the bathroom . pretty giulia ( laura chiatti ) flirts shamelessly with the prof for help , while nobody spares a glance at plain - jane martina ( natalia piatti ) . shaved punk fava ( federico battilocchio ) , none too bright , takes the exam with headphones on .
enrico , a wise young man , with a spiritual bent and an intense love of nature , sets them off on a climbing expedition up a mystic peak , where story takes a tragic turn . far from ending there , however , the film continues to show how each of them deals with this life - changing experience back home .
production : a medusa release of a prana film production , in association with medusa film , sky . produced by giacomo campiotti . executive producer , gian luca bianco . directed by giacomo campiotti . screenplay , campiotti , alexandre adabachian .
crew : camera ( color ) , duccio cimatti ; editors , joe walker , fabio nunziata ; music , corrado carosio , pierangelo fornaro ; production designers , alessandro vannucci , peter kaser ; costume designer , alexandra toesca ; sound ( dolby digital ) , massimo simonetti . reviewed at metropolitan , rome , dec . 1 , 2005 . running time : 106 min .
with : with : marco casu , marco velluti , natalia piatti , nicola cipolla , laura chiatti , federico battilocchio , pino quartullo , lidia broccolino , francesco salvi , mariella valentini , fabio sartor .
© copyright 2018 variety media , llc , a subsidiary of penske business media , llc . variety and the flying v logos are trademarks of variety media , llc . powered by urltoken vip
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bridge to terabithia meets the fault in our stars . inspired by a true story - josh craves connection and family while growing up in a reclusive cult .
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grambling state ' s eddie robinson started coaching college football when fdr was in the white house and didn ' t stop until bill clinton ' s second term . along the way , he racked up 408 victories , but his real legacy isn ' t in the stats . a black man coaching black athletes in the deep south for 57 seasons , robinson witnessed and took part in amazing changes in society and in his sport , battling prejudice and hatred to earn respect for himself and opportunity for his players .
plays gamely in both those arenas - - society and sport - - because it has to ; for robinson they are one and the same .
at grambling state university robinson was considered the
winningest coach in college football history .
here , he traces his 57 years at the school , showing how
dedication and hard work despite seemingly unconquerable obstacles
made him successful . ( see review p . 92 . ) copyright 1999 reed business information , inc .
i have a been in coaching for over 20 years and this was the greatest football book i have ever read . i have read the book twice and i am still looking through it . i wish i had the opportunity to meet him in person . it was definitely worth the money and more .
want to know the impact that eddie robinson had on grambling football ? then read this book .
eddie robinson is a pioneer for all of urltoken ' s amazing at all the things he saw & heard and yet he stayed focused & became one of the greatest coaches at any level of urltoken ' s beautiful how doug williams came back too coach grambling state . mr . robinson has inspired alot of brothers . even thought the nfl has a long way too go with the black quarterback among many other issues because of mr . robinson a doug williams got a chance the same goes for steve air ' mcnair . mr . robinson broke down alot of ground . a real stand up man & winner .
eddie robinson is truly one of the greatest pioneers in the history of athletics . the way he transformed a football program at a little known ( if not unknown at the time ) black . . .
i ' m a big fan of football , so of course i wanted to read , this book about grambling ' s great coach . i ' m a big fan of grambling except of course when they play jackson state , or . . .
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when former st george star norm provan was in his pomp , rugby league’s top players were both heroes and fixtures in the local communities in which they played . photograph : brendon thorne / getty images
only at redfern oval , where fans seemed psychotically anti - saints , rougher , more threatening , nastier , did we occasionally question our calling . in 1964 , ( a year in which saints would win their ninth of 11 - straight premierships ) this writer had his red - and - white beanie snatched from his 14 - year - old head by a trio of urchins and hurled onto the top of a toilet block at redfern . i recall , too , my face reddening and ears ringing in fury at the foul curses shouted by a coven of elderly red - and - green clad women in the grandstand at my idols raper , provan and clay .
ken kearney says that in his day , turning up at redfern oval was always a disconcerting experience . “they hated me there , ” chuckles the saints hooker . “they’d be into me from the moment i arrived with my wife maureen . they’d catcall me when i was standing around watching the lower grades , and when i ran onto the field they booed more loudly than any other crowd . and they were just the women . those bloody rabbitoh women . ”
but saints , and their supporters , usually had the last laugh . “look at the scoreboard ! ” we’d heckle at the vanquished souths fans , even though , it must be confessed , we wisely withheld our retorts until we could hurl them from the safety of our departing trains .
for home games at kogarah , we were on much surer ground . one match in 1964 , when we downed newtown 33–9 , remains vividly in my memory . it epitomises , for me , the cock - a - hoop , carnival atmosphere that suffused jubilee oval in the winning years . a day at jubilee was very different from one at the sydney cricket ground , saints’ home away from home . you dressed up to go to the cricket ground , and were tense and nervous because , being the match of the day , the opposition would be strong and the chances of defeat greater .
at aptly named jubilee oval , our opponents were the lowlier teams and we looked forward to , and usually got , cricket scores against them . accordingly , we dressed casually , in happy - go - lucky jeans , bright shirts and pullovers , or football guernseys , the dragons’ or our school’s . on our heads would be the ubiquitous red - and - white beanie with the pompom on top . this day , against newtown , a cool , clear july day , st george , and gasnier in particular , took the bluebags apart . there was no need for grinding forward play . the ball went to the backs from the opening blast of col pearce’s whistle .
“may i have your autograph , mr provan … mr gasnier … mr clay , ” we’d politely shout . unlike some modern stars who ignore or abuse young fans , or , even worse , feign a hand injury to avoid giving autographs , i remember the dragons of my youth remaining on the field until the last child’s book was signed .
another bonus of following st george in those years was that we had the chance to see and meet rugby league’s finest around our district . in those days , because of residential qualification rules , players had to reside in the area they represented . they lived there , shopped there , relaxed there , worked there . so it was a regular treat to cross paths with john raper in a local shop , norm provan at your school speech night or in his furniture store at rockdale , reg gasnier playing golf at beverley park , brian clay at the traffic lights in his truck , or , if your stove broke down , bill wilson of st george ranges might be despatched to repair it . if you attended carlton south primary school , you would be taught by exciting saints back johnny stathers .
the st george stars were part of their community . my fellow supporters all , like me , kept an autograph book and scrapbooks where our heroes’ signatures would appear not once but many times . and among us , local sightings of saints men would be noted .
ian walsh became immediately aware of the responsibility he carried being a st george player : “we had to keep giving our very best . we knew we had the whole district behind us , counting on us , and that was very special . you could feel the support there and that was a wonderful feeling . i could sense it at the games , just walking around the district , in any pub in the area . the people were proud of us . ”
“bill mcwilliam was the golf pro at beverley park golf club , down behind the leagues club , and every grand final day , at 5am , he’d load his ute with big st george signs and take half - a - dozen of us kids out to the cricket ground and we’d decorate the noble stand . after we’d finished hanging the banners , the groundsmen would come to throw us out , but we’d hide in the toilets , anywhere , until they’d gone , then take our place in the front row of the grandstand in time to watch all three grades .
“i learned plenty about life from st george . i learned how to win . they strained so hard to come out on top . raper was the best example , but langlands is another . they would put in an extra effort when they were completely buggered at the end of a game , when the other side were dropping . saints had the heart to keep picking themselves up . they hated to lose . it was foreign and awful to them . you saw how angry they were on the rare occasions when they were beaten . another thing i learned from them that i’ve tried to practise all my life is loyalty . chook raper told me how once in a game against newtown he was flattened by a bigger opponent and pop clay came over and said , ‘come on , get up ! you can’t let these blokes see you hurt . get up , and get up now ! ’ chook genuinely couldn’t . he was next to unconscious , but pop pulled him to his feet .
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story of two men who paddled and portaged from montreal to the bering sea , across canada and alaska , following the historic fur trade route .
trippy indie madeline ' s madeline is the movie that lakeith stanfield and boots riley from sorry to bother you want to see the most .
explore popular sci - fi movies and tv shows available to stream with prime video .
four boys and two girls who have just graduated from high school vacation together in the heart - stopping dolomite mountains . on a dramatic climbing expedition up a mystic peak , they . . . see more »
four boys and two girls who have just graduated from high school vacation together in the heart - stopping dolomite mountains . on a dramatic climbing expedition up a mystic peak , they encounter a tragedy that will change each of them forever . written by anonymous
originally , this song was meant to be sung by johnny mathis during the fantasy montage , but after he recorded it , jim henson decided it would be funnier if miss piggy sang it herself .
johnny mathis did eventually sing it in the 1979 special the muppets go hollywood , and miss piggy planned on singing it in episode 418 of the muppet show with rowlf on the piano , but she sabotaged the performance to sing with christopher reeve . the extended version of the muppet movie shown in the uk featured a different instrumental track from the original version .
television specials : hey cinderella ! • the frog prince • the muppet musicians of bremen • the muppets go to the movies • the fantastic miss piggy show • the muppets : a celebration of 30 years • the tale of the bunny picnic • a muppet family christmas • the muppets at walt disney world • the muppets celebrate jim henson • mr . willowby ' s christmas tree • studio dc : almost live • a muppets christmas : letters to santa movies : the muppet movie • the great muppet caper • the muppet christmas carol • muppet treasure island • the muppets ' wizard of oz • the muppets • muppets most wanted video games : my muppets show • animal drummer • tap tap muppets • disney emoji blitz
can ' t find a community you love ? create your own and start something epic .
larrikins and legends the untold story of carlton ' s greatest era by d . . .
tiger time the pictorial story of richmond ' s 2017 afl prem . . .
playing to win the inside story of hawthorn ' s journey to an 11 . . .
5000 - 1 : the leicester city story hope and disbelief in the premier league ' s grea . . .
how to play the world ? s most exclusive golf clubs a journey through pine valley , royal melbourne , . . .
stepping in and around glass
highlights intricacies between two bodies . an ode to our ancestry , the work attempts to inhabit new spaces , question the permissions that surround those spaces , and expose the physical devastations those implications embed . the installation element is set up prior to each performance and is unique to each show ; our space and ability to navigate space presents a new experiment with each performance . ( photo by middle space dance )
“her bells” is a work about the individual conception of time passing . the work looks at the past , present , and future of the dancers on stage and intersects with the past , present , and future of the audience . the work features ching - i chang bigelow , nico li , and carly berrett plagianakos from the company tipsy point productions . “her bells” has an original sound score and an accompanying short film created in collaboration with the dancers . ( photo by takaaki ando )
in _ transit premieres
all the ifs , ands , or buts
, an improvisational performance that melds together text , movement and storytelling . through the lens of women poets and queer movers , we wrestle with histories and topics that encourage the performers to share , listen , commit , and engage with one another consensually . being that the nature of this piece is based on a loose score , we collect images , words , and movement phrases that form the through - line of our work . ( photo by david rasura )
heath in progress presents a live field study of a cooperative community , where obedience is tested and internal motives take over . ( photo by andres villeta astacio of ville productions )
“…prosperity in the united states is intimately tied to misery elsewhere . ” - orduna jose . in “dream” , expressions dance company explores current immigration issues which are deeply rooted in the actions of the past . through an exploration through dance , expressions dance company invites the audience to participate in the conversation concerning the different scenarios so many immigrants have to face on a daily basis . you are invited to pour out your soul , but you are also invited to heal . ( photo by eric bandiero )
the organism that persons ( chris rehmann ) and sylver wallace are excited to premier their first collaboration ,
variation on sound bites
. their work focuses on experimental explorations of movement and sound .
variation on soundbites
explores the structure and organization of news information visually and aurally . by layering improvised movement , voice , and current media , the piece seeks to offer up alternative vantage points and a broader perspective of how we digest information . ( photo by conrad golovac )
suzie rzecznik is showing a work based on the layers and complexities of identity and how that can change moment to moment . this is a collaboration with live music finding how the dancer and musician can communicate and influence each other in improvisation . ( photo by alida rose delaney )
paul singh and peter chamberlin ( of the dance company singh & dance ) will perform a serious and technical movement study concerned with unraveling the constant architectures that keep people alike , even amidst the current events that literally tear us apart . it will be a short duet that lets the bodies do all the talking , while the words win and fail us . ( photo by ian douglas )
jazz
is a dance - music - dialogue between a body and a saxophone . a performative conversation between german - born dancer oxana chi and french - born musician layla zami , the piece evokes the commonalities between them . both grew up in europe , started with classical training in their respective fields , and now pursue a career full of contemporary fusion and afro - futurism . on the footprints of two globe - trotters who jump across continents , experience a personal and inspirational improvisation - interpretation of jazz . ( photo by jeremy toussaint )
fabgrandma explores the intersection of club culture and theatre . tina romero , filmmaker and dj ( dj trx ) , and rebecca hidalgo ( ondina ) , performance artist and dancer , both players in the nyc queer nightlife scene , join forces in a creative exploration of the relationship between dj and go - go dancer . their performance spotlights the sensual game of non - verbal catch of music , movement , and expression . at the heart of their respective stage personas lives an elegant grandma with flare , confidence , style , and charisma . ( photo by grandma )
the lovelies work to uncover , establish , and conclude the present through discovery . makers of dance and sound , sculptors of space and designers of time , the lovelies push each other , question the possibilities , surprise themselves to create dance pieces in the moment . for this work and all works , the lovelies seek to work collectively to create an environment and work with everyone involved - dancers , musicians and audience members - to build a dance spontaneously . the only structure ever used is a time limit , if applicable . ( photo by ezra goh )
jenni hong & friends will dance in the dressing room , while inspired by the music from my little airport , played on the boom box . the duet of many faces will mold into and destroy the improvisational score created by
room of pure forms
is an audience - inspired experience in which the audience provides raw form and andrea molds the form into her movement language to convey a concept relevant to the here and now . ( photo by helen lehrer )
janessa clark presents
tiny dances : live
, a duet in collaboration with courtney drasner , which extracts content and meaning from anonymous letters submitted during the performance . complementing clark’s video project of the same name , this improvisational score performs privacy in a way that subverts authority and ownership while giving agency to the personal secrets that an individual chooses to transmit . contemplating what traces we leave behind when we depart ,
tiny dances : live
investigates ephemerality and ( im ) mortality . ( photo by william miller )
daniel gwirtzman dance company premieres
follow
, a tightly - structured improvisatory quintet that finds all the dancers together in the space for the first time on the performance day . the process consists of each dancer separately learning a choreographic structure from rigorously detailed written descriptions . the music will be composed by jeff story and heard for the first time by the cast in performance . complex spatial patternings and pathways will demand the dancers navigate themselves carefully and fully . ( photo by quentin burley )


33 postcards is an 2011 feature film written and directed by pauline chan and starring guy pearce .

it is the first co-production between china and new south wales .

33 postcards

gabriele boretti . fundamentals postcards from the future . istanbul 2014 - 2064 ( 33 )
as a chinese - australian co - production , 33 postcards can automatically be released in china .
33 postcards is unrated but contains some violence . the running time is 1 hour and 37 minutes .
looking for movie tickets ? enter your location to see which movie theaters are playing 33 postcards near you .
as an official coproduction 33 postcards gets an automatic release in china , although such wide releases are not always guaranteed .
gabriele boretti . fundamentals postcards from the future . istanbul 2014 - 2064 ( 33 ) | a f a s i a
rare chance . . . 33 postcards , starring zhu lin and guy pearce , has automatic access to the massive chinese market .
33 postcards opens in select markets on friday , may 17 , and is available on demand on vudu and the itunes store .
1 . 33 postcards : china and australia lecture 3 australian cinema , rmit university , comm1033 dr steve gaunson stephen . gaunson @ urltoken
the sydney film festival opens tonight . the cast of 33 postcards will attend a red carpet world premiere at the dendy opera quays tomorrow night .
now , following the footprints of dragon pearl and 33 postcards , life by the sea is the latest project to culturally connect the two countries .
a bright performance by newcomer zhu lin can ' t prevent severe credibility gaps and abrasive tonal shifts from harpooning the heartwarming intentions of
33 postcards .
the australian - chinese co - production , 33 postcards , “will be released in every cinema in china , ” minister for the arts , george souris has announced .
since screening at the melbourne international film festival last month , “33 postcards” has been announced “in competition” for the asia pacific screen awards 2011 as well as being selected for other major international film festivals . “33 postcards”will be released theatrically in australia and new zealand towards the end of 2011 through titan view and is being represented for international sales by arclight films .
jason di rosso spoke with pauline chan about her dark vision of sydney in the new film 33 postcards , and the unprecedented co - production opportunities in a booming chinese film industry .
taken in the 19th century , these postcards of france were created using the photocrom process .
as a model of efficient collaboration , 33 postcards may be a portent of australia ' s filmmaking future . just as our businesses and entrepreneurs look to asia for opportunities , so too australian filmmakers .
sydney - - pauline chan ’s 33 postcards , an official chinese - australian co - production , will get the widest release possible for a feature film in china on 8 , 000 screens next month .
— it ' s official : ecv bordeaux , design residency 2017 – fl @ 33 workshops and lecture .
we were commissioned in early 2005 by paris - based pyramyd editions to prepare a book on fl @ 33 projects . when we finished our work back in february 2005 we magically managed to secure edition number 33 !
breaking news : extra week added . due to popular demand the fl @ 33 - designed and curated exhibition
chan has produced and directed 33 postcards , a chinese - australian co - production that will have its world premiere tomorrow night at the sydney film festival and will screen next saturday at the shanghai international film festival .
' s 10th anniversary – fl @ 33 ' s experimental playground and international platform – with a huge exhibition .
shot in new south wales and at the hengdian world studios in china , 33 postcards , was directed by pauline chan and produced by portal pictures and zhejiang hengdian film productions , in association with ifs capital limited and screen nsw .
march 2014 : two additional dfis joined the corporate governance development framework community to increase the number of signatories to 33 .
33 postcards is inspirational drivel . a co - production between china and australia it tells the story of an orphan girl who travels to australia and wants to meet her sponsor who has been sending her postcards for over ten years . however , the reality is very different to the postcards he sent and together the two lost people help each other out . no doubt this is supposed to be a heartwarming and emotional film but it is heavy handed , obvious and trite .
the main problem is the criminal subplot , full of aussie villains snarling “mate” at one another and landing bloodless punches on dean . “33 postcards” is what happens when someone grafts a prison angle onto “pollyanna” — the tough guys just get in the way .
in some alternate universe , 33 postcards is making a heartbreaking play for some major awards , but comes of as the sort of film you ' d only expect to find on guy pearce ' s resume in the
before they were famous
section .
hazara refugee sha sarwari with his floor - based installation silent conversation , featuring 1 , 975 blank postcards . photograph : michael cranfield
33 postcards had its world premiered at the sydney film festival in june , followed by its international premiere at the shanghai international film festival in the same month , where actress zhu lin received the shanghai international film festival asian new talent award for her debut performance .
33 postcards provokes little emotional or intellectual response other than active irritation with its dullness , which is so stifling it almost scans as an act of audience hostility . the canned moralizing , devoid of behavioral observation or common sense , is reminiscent of the christian genre films associated with studios like sherwood pictures . those films , though asinine , at least have a discernible point ( to sell you religious dogma with stories that would strike a toddler as naïve ) . 33 postcards , however , is a jumbled mixture of redemptive uplift and genre hijinks .
news of 33 postcards ’ chinese release comes as producers guild , the screen producers association of australia ( spaa ) , officially launches the australia - china screen alliance , this week . it will assist both australian and chinese film and television producers navigate co - productions between the countries .
the remaining 1 , 975 are represented by blank postcards in sarwari’s floor - based installation , the self - explanatory metaphor that underpins silent conversation .
_ _ _ the final image is a composition using two photographs – one taken by fred frei in france and the other by fl @ 33 .
previous official china - australia co - productions include kimble rendall’s guardians of the tomb , starring li bingbing , which is currently in post - production ; dog fight , which wrapped last year ; pauline chan’s 33 postcards ; mario andreacchio’s the dragon pearl ; and roger spottiswoode’s children of the silk road .
on friday 18 august 2011 , it was announced that official australia and china co - produced film “33 postcards” is about to enjoy the largest theatrical release of any australian film in china . the mandarin version of the film will be released into 2 , 000 cinemas in china when it opens on september 2 .
the windmills , canals , and cities in the netherlands are a sight to see . but looking through these postcards of holland in the late 1890s sheds some light on what life was like back then . the postcards use the photochrom process - a technique for applying lifelike color to black - and - white images .
now comes 33 postcards , which was part - funded by screen nsw and has a rare entree into the chinese market . ' ' in china , there is a quota for only 20 international films a year , ' ' says chan , who grew up in hong kong and moved to australia with her family in 1980 .
as instantly disposable as an unwanted postcard from a friend’s vacation , pauline chan ’s hybrid drama squanders the talents of guy pearce in its tale of the unlikely relationship between a young chinese orphan and an australian prison inmate . equal parts thriller and feel - good inspirational tale , 33 postcards succeeds mainly in provoking the viewer’s sense of disbelief .
a bright performance by newcomer zhu lin can’t prevent severe credibility gaps and abrasive tonal shifts from harpooning the heartwarming intentions of “33 postcards . ” centered on a chinese orphan who arrives in sydney to discover her “perfect aussie” sponsor is doing time for murder , pic is an awkward mishmash of components , ranging from family - friendly contempo [ … ]
33 postcards tells of 16 - year - old chinese orphan mei mei ( zhu lin ) who comes to australia to meet her sponsor , dean randall ( guy pearce ) whose life turns out to be less postcard - perfect than she had imagined . initially mismatched and disconnected – the two begin a journey in search of belonging and family .
graphic art label and online boutique stereohype launched a massive sale today – including 182 fl @ 33 products such as signed books , graphic art prints , button badges and t - shirts .
subscribe to trailers : urltoken subscribe to coming soon : urltoken subscribe to indie & film festivals : urltoken like us on facebook : urltoken follow us on twitter : urltoken 33 postcards trailer 1 ( 2013 ) - guy pearce movie hd dean randall has sponsored a young chinese orphan mei mei for many years , when she arrives in sydney out of the blue to thank him , their lives are changed forever .
rather than a migrant ' s tale , 33 postcards tells of a 16 - year - old chinese orphan who comes to australia to meet her sponsor , whose life turns out to be less postcard - perfect than she had imagined . ' ' it ' s not about her being chinese , ' ' chan says . ' ' she could have come from france , spain or afghanistan . it ' s about their relationship .
“these blank postcards are also a metaphor for the lives of refugees stuck in detention centres here in australia and offshore – that their lives are going nowhere , in limbo , they’re stuck , there’s nothing happening . ”
what came next was the basis for silent conservation , an installation artwork that has earned the 33 - year - old his first national art prize , awarded by the walker street gallery , an initiative of the city of greater dandenong in victoria .
fl @ 33 ' s tomi vollauschek is heading back to london tonight after an exciting week as designer in residence at the ecv lille , france , where he ran a 4 - day workshop and gave an evening lecture . see a documentation here .
inscribed in pencil on the inner , gray matte : “bo pointn to his niga . ” on the yellowed outer matte : “klan 4th joplin , mo . 33 . ” flattened between the glass and double mattes are locks of the victim’s hair . ”
but the film isn’t intended as farce , as we’re supposed to be authentically moved by mei mei and dean’s blossoming friendship . 33 postcards has a major narrative problem for a redemption film : the redemption we’re expected to invest in has already happened long before the story we’re watching begins . dean’s already atoned for his sins and has effectively transformed himself into a cipher with no temptations or significant internal conflicts ; he’s just a decent guy who mysteriously decided one day to invest in the happiness of an orphan .
chinese orphan mei - mei and her australian sponsor , dean randall , have communicated throughout postcards for years . when mei - mei visits australia with the children ' s choir she helps direct , she discovers the truth about her sponsor and even more about herself .
hazara refugee sha sarwari with his installation silent conversation . ‘these blank postcards are also a metaphor for the lives of refugees stuck in detention centres here in australia and offshore – that their lives are going nowhere , in limbo , they’re stuck . ’ photograph : mick richards
es gibt designstudios , die haben einfach das gewisse etwas . bei dem in london beheimateten studio fl @ 33 trifft das auf jeden fall zu , denn die arbeiten des französisch - österreichischen teams agathe jacquillat und tomi vollauschek zeichnen sich durch ihre innovative bildsprache und einen besonderen humor aus .
. . . , this is a perfectly formed volume showcasing the intriguing work of london - based franco - austrian duo agathe and tomi , aka fl @ 33 . its diminutive size means that the emphasis is on imagery rather than text , so copy is pretty much restricted to the captions and a preface by liz brown . it doesn ' t really matter too much , though , as the work is consistently engaging and presented in a fresh and appealing way . it ' s a great snapshot of what they ' ve achieved so far and bodes well for fl @ 33 ' s future .
the film is about chinese orphan mei mei ( zhu lin ) who for ten years dreams of meeting her australian sponsor – dean randall ( guy pearce ) . at 16 , when her orphanage travels to australia to attend a choir festival , mei mei takes the opportunity to find him but what she finds is far from the idyllic life he depicted in his postcards . mei mei however is determined to make a connection with dean .
repping vietnamese - born australian helmer pauline chan’s first feature since the 1999 crime thriller “ little white lies , ” pic pulls at the heartstrings from the opening flashback of adorable moppet mei mei ( loh chen - liu ) arriving at the dong ying orphanage in guangxi . now 16 and played by zhu , mei mei has for 10 years received financial assistance and postcards from dean randall ( pearce ) , a handsome aussie claiming to be a park ranger and family man .
for ten years , chinese orphan mei mei dreams of meeting her australian sponsor , dean randall , and his perfect family . at 16 , when her orphanage travels to australia to attend the australian choir festival , mei mei takes the opportunity to look him up . what she finds , however , is far from the idyllic life he depicted in his postcards . initially mismatched and disconnected , the two begin a journey in search of belonging , family , redemption , love and acceptance .
for 10 years mei mei ( zhu lin ) , a 16 yr old chinese orphan , dreams of meeting her australian sponsor dean randall ( guy pearce ) and his ‘perfect family’ . when her orphanage travels to australia to attend the australian choir festival mei mei takes the opportunity to look him up . what she finds , however , is far from the idyllic life he depicted in his postcards . initially mismatched and disconnected the two begin a journey in search of belonging , family , redemption , love and acceptance .
for 10 years , chinese orphan mei mei ( zhu lin ) dreams of meeting her australian sponsor – dean randall ( guy pearce ) – and his ' perfect family . ' when her orphanage travels to australia to attend the australian choir festival , mei mei takes the opportunity to look him up . what she finds , however , is far from the idyllic life he depicted in his postcards . initially mismatched and disconnected , the two begin a journey in search of belonging , family , redemption , love and acceptance .
sixteen - year - old mei mei ( zhu lin ) has dreamt of meeting her australian sponsor and pen - friend dean randal ( guy pearce ) l and his perfect family for ten years . when her orphanage travels to australia to attend a choir festival , mei mei disobeys the school leader and sets out to find him , navigating unfamiliar streets with the help of carl ( lincoln lewis ) , the charismatic son of a dodgy car dealer . when she discovers that the idyllic life dean depicted in his postcards is far from the truth , mei mei remains tenacious in her efforts to connect with him .
director pauline chan fuses together two reliable farce scenarios : the foreigner abroad and the gullible innocent who’s unknowingly helping bad guys perpetrate their criminal schemes . mei mei ( zhu lin ) is a chinese orphan preoccupied with her australian sponsor , dean randall ( guy pearce ) , who sends her postcards detailing his adventures with his loving family frolicking with the animals of the outback . for ludicrous reasons not worth detailing , mei mei soon finds herself in australia discovering that dean’s actually a career criminal serving a prison stretch . still ever grateful and devoted , mei mei sticks around and gets a job cleaning cars for an enterprise that’s ( laughably ) obviously illegal .
orphan mei - mei ( zhu lin ) thinks she ' s found the opportunity of a lifetime when she travels to sydney for a concert with the children ' s choir from her orphanage . for mei - mei , australia is more than just a foreign country that offers a chance to see something new and learn a little about the wider world . it ' s also the home of her long - time sponsor , dean randall ( guy pearce ) . though mei - mei and dean have never met , they ' ve exchanged dozens of postcards and letters over the course of a decade . mei - mei writes to mr . randall and tells him that she ' s eager to see him while visiting from china .
asian - australian co - productions are tapping into a vast new market , writes sacha molitorisz .
f or an australian filmmaker used to working with australian budgets , the scale was hard to fathom . at the sprawling hengdian film studios in eastern china ( nickname : chinawood ) , even the replica qin dynasty imperial palace doesn ' t dominate the landscape .
' ' they claim to be the biggest location studio in the world , ' ' says director pauline chan , who was shooting there last year . ' ' it ' s like an entire city . and they have mountains , rivers , everything . while we were filming , there were 20 other films being shot . there are apparently 20 , 000 people working in catering and the studio even owns its own hotels for crews . ' '
starring guy pearce , claudia karvan and zhu lin , the drama was part - financed by hengdian studios . it was filmed in sydney and at hengdian , where a staggering 50 films are shot a year .
' ' i get very wearied by the notion of australian films being made for australian audiences , ' ' says clare stewart , the outgoing director of the sydney film festival , which opens tonight .
' ' asia offers an important potential market . i ' ve been going to the hong kong festival and market for many years and have seen how vibrant that film industry is . we are so well positioned to be doing more co - productions with asia . ' '
fittingly , the jury president for the official competition at sydney ' s festival is chen kaige , the beijing - born director who won the palme d ' or at cannes with farewell my concubine ( 1993 ) .
in recent years , the australian film industry has taken determined steps towards asia , particularly china . in 2007 , australia and china signed a co - production agreement , which came into force in december 2008 . children of the silk road ( 2008 ) was made as the treaty was coming into effect ; the first feature made under the treaty was dragon pearl ( formerly the last dragon ) , starring sam neill . screen australia says the combined budget for both was $ 41 million .
' ' every year , all the big studios in the world are fighting for these slots , which means films like avatar and harry potter dominate . the small films from smaller distributors don ' t usually get a look in . ' '
it isn ' t just china tempting australian filmmakers . little thief , which is seeking a distributor , is an edgy $ 200 , 000 collaboration between talented sydney director christopher robin collins and korean producer bon won lee .
shot in glebe , marrickville and the inner city , it is a drama about a methodical korean man whose life is upended by a young bag - snatcher . ' ' one of the benefits of working with a korean producer is their different take on culture , ' ' collins says .
' ' their way of doing things is so disciplined and polite , whereas the australian way can be more relaxed and easy - going . that really tied into the premise of our story . ' '
previous examples of asian - australian films include clara law ' s floating life ( 1996 ) , tony ayres ' s the home song stories ( 2007 ) , khoa do ' s missing water ( 2009 ) and bruce beresford ' s mao ' s last dancer ( 2009 ) .
the australian - chinese co - production treaty will no doubt increase the number of australian - chinese stories on our screens ; it is also likely to broaden the range of stories being told .
' ' china is a country , more than possibly any other that i know of , going through a cultural transformation . there are so many ideas and ways to work . in australia , there has hardly been any private investment in filmmaking in recent years . clearly , that says to me that co - production is the way to support australian film .
' ' it feels natural that it should happen this way . and we ' re already talking to the same investors about further opportunities . ' '
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dean randall has sponsored a young chinese orphan mei mei for many years , when she arrives in sydney out of the blue to thank him , their lives are changed forever .
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mei mei ( zhu lin ) a 16 yr old chinese orphan dreams of nothing more than being part of the ' perfect ' family . when her orphanage travels to australia to par - take in the australian choir festival mei mei takes the opportunity to find her australian sponsor dean randall ( guy pearce ) . however what she finds is far from what he depicted . initially mismatched and disconnected the two begin a journey in search of belonging , family , redemption , love and acceptance .
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guy pearce stars in this drama about an australian prison inmate and his chinese foster child .
sixteen - year - old mei mei ( zhu lin ) has been receiving missives and financial support for ten years from dean randall ( pearce ) , an aussie who regales her with tales of his life as a park ranger and devoted family man . so when her orphanage choir travels to sydney to participate in a singing competition , she eagerly takes advantage of the opportunity to sneak off and thank her generous adoptive father in person .
unfortunately , she soon finds out that he’s actually a convict imprisoned on a manslaughter charge . left behind by her escorts , the plucky teenager somehow manages to become embroiled in a car theft ring whose ringleaders include randall’s brother ( rhys muldoon ) . desperate to save her from the criminals’ clutches , randall makes the possibly self - destructive decision to get himself sprung by testifying against one of the prison’s more viciously violent inmates .
how does a long incarcerated prisoner have the disposable income to provide support for a foster child ? why would a gang of hardened criminals recruit a hopelessly naïve teenager ? why would the choir’s organizers simply abandon one of their charges ? how is it that mei mei is immediately given legal permission to stay in australia despite her young age ? these are the among the myriad head - scratching questions that spring to mind while watching the tonally confused proceedings , which somehow manage to be dull despite the profusion of plot twists .
the normally reliable pearce here delivers a recessive , twitchy performance less suggestive of inner conflict than constipation , while the engaging lin is unable to make her character’s inconsistencies remotely credible .
true to its title , the film does at least provide picture - postcard views of its scenic locations ranging from the verdant mountains of rural china to sydney’s many tourist - friendly attractions .
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mei mei , though , is the film’s insurmountable problem . chan delivers one legitimate surprise about 30 minutes in , and it’s unintentional : mei mei’s supposed to be 16 years old , which will lead you to wonder if she’s mentally troubled or just plain deranged . the girl we’ve known up until this point , and continue to follow throughout the film—who favors pigtails and brightly colored overalls , obsesses over a man she’s never met , and blindly accepts everything she’s told at face value—would appear to possess the emotional development of a not - very - bright 10 - year - old .
that might be forgivable , or merely odd , but chan infuriatingly glorifies mei mei’s life - endangering stupidity as a testament to nobility in a fashion that resembles robert zemeckis’s treatment of his protagonist in forrest gump . we were meant to admire gump’s ability to maintain a stiff upper lip as he endured adversity , despite his inability to fully comprehend much of what was happening to him . mei mei is similarly applauded for stumbling through a variety of dangers , and she’s so sickeningly innocent , and so relentlessly celebrated by chan , that you may find yourself perversely rooting for the bad guys , who at the very least , share our irritation with this creepy and insufferable sprite .
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brimstone ’s bid for social correctness does nothing to make the juvenile and numbing fixation on brutality more palatable .
it makes a convincing argument for viewing thomas wolfe’s work as a product of the excess and exuberance of the 1920s .
director drake doremus’s equals all comes down , simplistically and repeatedly , to “feelings make us feel alive . ”
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subway panhandler bashed me with a pipe because i wouldn ' t give . . .
were it not for the staccato bursts of violence , this chinese - australian co - production about how an adorable orphan brings love into the life of a hardened convict would feel like a film from hayley mills’ heyday . mei - mei ( zhu lin ) , the teenage orphan , even sings .
that isn’t necessarily a deal - breaker , and for the first half - hour things work surprisingly well , largely due to the radiant sincerity of lin , as she breathes life into her character’s absolute innocence . mei - mei is abandoned to a chinese orphanage , but she’s able to attend school due to the sponsorship of australian dean randall ( guy pearce , as wiry and haunted - looking as he was in “l . a . confidential , ” 16 years ago ) .
the orphans’ choir that mei - mei conducts goes on tour to sydney , and the plucky girl seeks out her postcard papa . unfortunately , he’s in prison , and being menaced by a protection gang .
pauline chan’s direction is unobtrusively vanilla , save for a couple of rear - projection shots on a motorcycle so retro - bad they seem imported from an elvis movie . at times the sweetness is affecting , as in mei - mei’s first visits to see dean .
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one of the basic facts about movies is that there ' s a big difference between intention and execution . a film can have its heart in the right place , yet still fail to achieve the impact it desires .
is a perfect example . it begins promisingly , setting up a story that seems as though it will be both sweet and emotional . then , about halfway through , the picture loses its way , never to get back on track .
, and while perhaps nothing terribly new , it does work . mei mei ' s confusion and dean ' s guilt are compelling . we get the sense that these two troubled characters are going to experience some form of personal healing from finally meeting . but then the film gets really bogged down in a ridiculous crime subplot , as mei mei falls in with a car thief and dean is trapped in an extortion plot that forces him to pay money to one of the car thief ' s prison flunkies in exchange for not getting shanked .
is merely the latest in a long line of films that throw in needless crime subplots as a way of shortcutting . i ' ve seen this sort of thing time and time again . director / co - writer pauline chan wants to tell a story about two damaged souls who heal each other , but she doesn ' t know how to get dean and mei mei there without resorting to these unconvincing and labored contrivances . zhu lin and guy pearce give solid , committed performances . we don ' t want to see them in shootouts or chases . we want to see them talk , open up , get vulnerable . chan can only take that so far , and then she essentially throws her hands up in the air .
despite the appealing leads and the promising start , the movie goes downhill quickly , betraying the human story it set up . too bad , because , had it stuck with the character - based material and forsaken the action ,
might have been a really beautiful , touching film . instead , it ' s just a disappointment .
is available on vod now , and will be released theatrically on may 17 .
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dean randall ( guy pearce ) has sponsored a young chinese orphan mei mei ( zhu lin ) for many years , but when , out of the blue , she arrives in sydney to thank him , their lives are changed forever . more
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audiences are rejecting this summer’s procession of tired sequels , and international grosses won’t be enough to keep studios afloat forever .
despite the casting of guy pearce ( who does a decent job in a one - dimensional and cliche - filled role ) this has a strong whiff of a tv - movie in its poor production values , soap star cast and shitty story . newcomer zhu lin won…
yes there are some real issues with the script . that doesn ' t prevent it being fucking fabulous . i go out of my way to see australian films and i am rarely disappointed . if you haven ' t seen it do so .
it certainly did nothing to boast the profile of some gleaming teeth blonde kid off home & away . soon after this he went to play for the other side on neighbours .
directed by pauline chan this australian / chinese co - production stars zhu lin , guy pearce and claudia karvan . a young orphan from china looks up the man who has sponsored her education while her orphanage choir is on a trip to australia .
this film could easily have tipped into over sentimentality but manages to straddle the line fairly well . guy pearce has the best character in the piece as the lonely and haunted prisoner that really holds the film together . the plot does range away from the core relationship a little too much but this is still a film that is well worth a watch .
seemed a little too ' straight to tv ' for me - a little tame .
a . v . club review . saccharine , contrived global pudding features a career - worst performance from guy pearce , who apparently needs directors to rein him in when he ' s meant to be naturalistic .
a list of every australian film made between 2010 to the present day . slowly adding features , documentaries , short films and…
with : with : guy pearce , zhu lin , claudia karvan , elaine jin , rhys muldoon , lincoln lewis , terry serio , matt nable , kain o ' keefe , claire scott , clayton watson , loh chen - liu . ( english , mandarin dialogue )
with a dearth of background information that bedevils the entire movie , mei mei and her pals in the orphanage choir are suddenly whisked off to sydney for a competition . barely off the plane , mei mei sneaks away from supervisor miss chen ( taiwanese vet elaine jin ) and sets off to find randall and thank him for his support . following a couple of mildly amusing transportation - related misadventures , she arrives at long bay jail and is promptly dismissed by randall , who is sweating over a parole application .
while it’s easy enough to accept the start of mei mei’s awol expedition , many viewers are likely to question the plausibility of much that transpires when the plucky girl revisits randall over several days and inspires him to look at life anew .
all this time she is accompanied by randall’s brother , gary ( rhys muldoon ) , a petty crook who steals high - end cars for garage owner fletch ( terry serio ) and his son carl ( lincoln lewis ) , a young hunk with eyes for mei mei . although she’s being drawn into participating in a major crime , no one thinks to ask the extremely innocent teenager how she arrived in australia or where she’s supposed to be staying .
worse still , randall’s welfare officer barbara ( claudia karvan ) not only fails to ask the obvious questions but has no qualms about rushing through legal documents and declaring , incredibly , that mei mei can remain in australia .
with the addition of jarring scenes showing prison tough guy tommy ( matt nable ) brutally stabbing an inmate and smashing his fist into randall’s jaw , pic has only zhu’s bright smile and bubbly enthusiasm staving off total capitulation . karvan and pearce can do little with characters whose most intriguing attributes are only hinted at .
nice visuals of sydney tourist attractions and grungy inner - city streets stand out in a pro tech package .
production : a titan view ( in australia ) / zhejiang hengdian film prod . co . ( in china ) release of a portal pictures / zhejiang film prod . co . production , in association with ifs capital , screen nsw . ( international sales : arclight films , los angeles . ) produced by zhijiang liu , penny carl - nelson , pauline chan , lesley stevens . executive producers , yongan xu , lee soon kie , john sim , eddy chan ka do . directed by pauline chan . screenplay , martin edmond , chan , philip dalkin .
cast : with : guy pearce , zhu lin , claudia karvan , elaine jin , rhys muldoon , lincoln lewis , terry serio , matt nable , kain o ' keefe , claire scott , clayton watson , loh chen - liu . ( english , mandarin dialogue )
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waltzing matilda original music by christina mcpherson , revised music by marie cowan and lyrics by a . b . ' banjo ' paterson performed by the wenzhou children ' s choir published by carl fischer music , new york
inspiration struck sha sarwari as he pondered how his warm personal encounters as a refugee in australia belied the portrayal of asylum seekers in its politics and media .
“i wanted to know for myself , to see what people think , ” says the visual artist , an ethnic hazara from afghanistan who arrived on a boat from indonesia in 2000 as a teenager fleeing the persecution of the taliban .
thus came sarwari’s idea for his own “census on the issue of asylum seekers” , collecting private , unvarnished views through the suburbs of his adopted home city of brisbane on those at the centre of perhaps the australian government’s most internationally contentious policy : offshore detention .
“the way i wanted to do it is to give them their own time and space to think about this issue , not to confront them in the street , put them under pressure , ” he says .
each postcard bore the image of a boat made of “whitewashed” newspaper and cardboard , inscribed with sarwari’s own story .
the responses slowly began filling his postbox . his intention was to send them on to asylum seekers in detention centres , “no matter what the result , even if it was a negative or harsh view , so that the refugees will know the truth” .
in the end , there were just 15 responses , some also bearing letters .
“i am of the view that i am still engaged with them , the people who have received my postcard and haven’t returned them , ” sarwari says .
“maybe they’re still thinking or haven’t decided or they don’t want to decide . [ but ] the conversation is there , it may come back when they see news on asylum issues . it may come back into their memory , ‘there was a postcard i received and didn’t answer’ .
of the less than 1 % who responded , sarwari says “all were positive” .
but in these were a handful that saw asylum seeking as “running away” . these were the views of a “very courageous person who wanted to stay and fight , you know , which i respect” , sarwari says .
this provoked a rethinking by the artist of the very meaning of the act of seeking asylum , which he now conceives of as the rejection of violence .
“there was one or two that said , ‘we welcome them as refugees but they should stay in their home country and build their own country … it should not always be an option for us to leave , to run away’ .
“but i don’t call it ‘running away’ . by leaving , i say no to war , no to killing , no to destruction .
“i think violence and fighting and killing will get you nowhere . it will keep going and going , especially where i come from , where the basic infrastructure of life in terms of values and the fabric of society is broken .
“if i was back home , let’s say , to stay as that person said , to protect my life , i would be killed or kill someone . to me , not doing that is a contribution towards peace .
“by leaving the country , i think all refugees , they’re not only seeking peace and protection . they are contributing towards peace and freedom . ”
the home and art prize exhibition , which features comedian judith lucy as ambassador and celebrates the work of 14 artists from around australia who are refugees and asylum seekers , is now showing at the walker street gallery .
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_ _ _ the play was directed by gísli örn gardarsson and performed by vesturport theatre in october 2005 at bite : 05 , barbican , london , as part of the young genius season .
_ _ _ the project turned out to be even more exciting for us than anticipated when some of our favourites – namely musicians nick cave and warren ellis ( of the bad seeds ) signed up – during the development of the campaign – to produce exclusive music for this must - see performance / theatre play .
“this icelandic version has overpowering visual and aural bravura , showing how büchner‘s masterpiece can be turned into an assault on contemporary capitalism . “
”the stage is full of eloquent visual images and sizzling coups the theatre , underpinning always by a sence of danger and by nick cave’s haunting , melancholic score . ”
a hostage to fortune , class and his sadistic superiors , woyzeck ' s fate is played out in a series of nightmarish encounters . he stumbles through a world of macabre carnival , sexual betrayal and cruel oppression , pursued by the demons of his own paranoid fantasies . pushed beyond breaking point , woyzeck ' s last love - crazed act tragically destroys the only thing he truly cares for .
iceland ' s vesturport use hair - raising , high spectacle , circus skills to electrifying effect . vesturport ' s production of romeo and juliet was a huge hit at london ' s young vic in 2003 , transferring to the west end in 2004 .
a celebration of brilliance , originality and spirit in the early works of some of the world ' s great playwrights and theatre artists . urltoken
, hochschule darmstadt , fachbereich gestaltung ( formerly known as fh darmstadt ) , university of applied sciences , faculty of design , darmstadt , germany , 22 may 2013 .
ifc ' s methodology for evaluating corporate governance risks and opportunities has been distilled into the
corporate governance development framework ,
a common approach which was adopted by 35 development finance institutions ( dfis ) for use in their investment processes .
the corporate governance development framework provides signatory institutions with a common platform for evaluating and improving governance practices of their investee companies .
the institutions that signed the corporate governance development framework cover most emerging markets around the world , including africa , latin america and the caribbean , asia , middle east , and europe and central asia and represent assets of more than $ 850 billion altogether .
the corporate governance development framework is the result of the extensive collaboration among members of the dfi corporate governance working group which consists of representatives of several international finance institutions .
the next meeting will be hosted by ifc and held in washington , d . c . in 2019 .
march 20 - 21 , 2018 : 12th annual dfi corporate governance conference took place in london and was hosted by ebrd .
march 2017 : the 11th annual development finance institutions corporate governance meeting was hosted in lima by caf and cofide . an additional dfi joined the corporate governance development framework , raising the number of signatories to 35 .
april 2016 : the 10th annual development finance institutions corporate governance meeting was hosted in paris by proparco .
march 2015 : the 9th annual development finance institutions corporate governance meeting took place in mexico city and was hosted by nacional financiera . an additional dfi joined the corporate governance development framework , raising the number of signatories to 34 .
february 2013 : two additional dfis joined the corporate governance development framework community to increase the number of signatories to 31 .
september 2011 : ifc and 28 other dfis signed the corporate governance development framework .
2010 - 2011 : the working group has developed the
corporate governance development framework
, a common methodology for assessing corporate governance in the dfis investment work , which is based on ifc ' s corporate governance tools .