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Review: Balibo, From Paris with Love, Gone With the Woman and Silent Wedding

By Cinema, Reviews

Balibo posterIn October 1975, the obscure little Portuguese colony of East Timor was giv­en inde­pend­ence after 400 years of European rule. A mixed Melanesian/Polynesian pop­u­la­tion was sit­ting on rich min­er­al and fossil fuel poten­tial and sur­roun­ded on three sides by the region’s power­house, Indonesia (with Australia to the south). After only nine days of inde­pend­ence, Indonesia invaded in one of the most cyn­ic­al and bru­tal land grabs in mod­ern history.

The Indonesian armed forces, know­ing that an inva­sion was a gross breach of inter­na­tion­al law, wore plain clothes and did everything they could to extin­guish evid­ence and wit­nesses. The most cel­eb­rated vic­tims of the atro­city were the Balibo 5, young Australian tele­vi­sion journ­al­ists who were stran­ded in the bor­der town of Balibo as the inva­sion began. Without the bene­fit of modern-day com­mu­nic­a­tions, they simply dis­ap­peared and the Australian gov­ern­ment, who (along with the US) gave tacit approv­al to the entire hor­rible exercise.

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Review: Up, The Soloist, The Young Victoria, Paris 36, Casablanca, The Camera on the Shore and the Vanguard 30th Anniversary

By Cinema, Reviews

The Young Victoria posterThe theme for the week seems to be romance and some of the finest love stor­ies of recent (or in fact any) year have just made their way to our screens. Firstly, The Young Victoria where Emily Blunt (Sunshine Cleaning, The Devil Wears Prada) deservedly takes centre stage for the first time as the eponym­ous roy­al. Even review­ers are entitled to a little pre­ju­dice, and I wasn’t expect­ing much from this going in, but I left the cinema full of admir­a­tion for an intel­li­gent script, perfectly-pitched dir­ec­tion and con­sist­ently able per­form­ances from expec­ted and unex­pec­ted quarters.

Blunt’s Victoria is a head­strong teen­ager, frus­trated by the com­pet­ing polit­ic­al interests that push and pull her. Only Prince Albert of Saxe-Coburg and Gotha (whose suit was instig­ated by yet more euro-intrigue) seems to see the real Victoria and offers the new Queen sup­port and inde­pend­ence. The rela­tion­ship between Blunt’s Victoria and Rupert Friend’s ini­tially nervous but ulti­mately self-assured Albert is charm­ing, nat­ur­al and mov­ing and the back­ground of polit­ic­al intrigue and mach­in­a­tions provide neces­sary (but not over­whelm­ing) con­text. The Young Victoria is a film that, and I hope this makes sense, is per­fectly balanced.

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